Search All 1 Records in Our Collections

Welcome to the new Collections Search. You can still use the previous version of the site at this link.

The Museum’s Collections document the fate of Holocaust victims, survivors, rescuers, liberators, and others through artifacts, documents, photos, films, books, personal stories, and more. Search below to view digital records and find material that you can access at our library and at the Shapell Center.

The Katz Ehrenthal Collection is a collection of more than 900 objects depicting Jews and antisemitic and anti-Jewish propaganda from the medieval to the modern era, in Europe, Russia, and the United States. The collection was amassed by Peter Ehrenthal, a Romanian Holocaust survivor, to document the pervasive history of anti-Jewish hatred in Western art, politics and popular culture. It includes crude folk art as well as pieces created by Europe's finest craftsmen, prints and periodical illustrations, posters, paintings, decorative art, and even toys and everyday household items decorated with depictions of stereotypical Jewish figures.

Record last modified: 2018-10-24 14:08:13
This page: https://collections.ushmm.org/search/catalog/irn545044

Also in Katz Ehrenthal collection

The Katz Ehrenthal Collection is a collection of over 900 objects depicting Jews and antisemitic and anti-Jewish propaganda from the medieval to the modern era, in Europe, Russia, and the United States. The collection was amassed by Peter Ehrenthal, a Romanian Holocaust survivor, to document the pervasive history of anti-Jewish hatred in Western art, politics and popular culture. It includes crude folk art as well as pieces created by Europe's finest craftsmen, prints and periodical illustrations, posters, paintings, decorative art, and even toys and everyday household items decorated with depictions of stereotypical Jewish figures.

19th century German marionette dressed as an Orthodox Jewish banker in a somewhat shabby black suit. The carved, painted face has a large, curved nose and peyots (sidecurls), but these Jewish features are not overly exaggerated. Marionette shows were a popular form of entertainment in the 19th century for adults as well as children. Germany was now the banking center of Europe, after the chaos of the French revolution and Napoleonic wars, and the house of Rothschild had emerged in Frankfurt. Jews were still linked to the stereotypical evils of money lending, and while the banker was a more respectable figure, Jews were now also viewed with jealousy and suspicion as the creators of capitalism and its evils. This marionette is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Small bronze statuette of an Orthodox Jewish peddler with stereotypical features, including thick lips, hooded eyes, and hooked nose, made in 19th century Austria. This figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Detailed bronze figure of an Orthodox Jewish man holding a rooster upside down by its feet. He appears to be performing the kaparot [atonement] ceremony, a ritual done to prepare for Yom Kippur. During the ceremony, a chicken is passed around the head while the appropriate prayer is recited. The chicken is then ritually butchered and money, or sometimes, the chicken, is given to charity. The sculpture is attributed to Austrian sculptor Carl Kauba (1865-1922). This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ceramic change holder in the shape of an Orthodox Jewish man standing atop a shallow dish labelled, The Old Pal. This figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small color print with a crudely exagerrated caricature of a Jewish stereotype, a schnorrer, or moocher, a short man in a top hat and ill fitting, shabby suit, and shoes. This print is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Pewter pepper pot in the shape of a Jewish man in the tricorn hat, knee length jacket, and breeches fashionable circa 1775, known as colonial style. He has stereotypical Jewish features, such as a very large nose, but the fine, detailed metalwork make it a naturalistic portrait. The character and subject resemble depictions found in popular prints produced at the same time, known as Cries of London. These were picturesque scenes of city life that featured street characters, such as Jewish peddlers, as workers who provided useful services and vibrancy to urban areas. This pepper pot is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small drinking glass with a painted caricature captioned Jews Hobby Horse. It depicts a Jewish man in formal riding clothes riding a bag with wheels labelled, Old Clothes. This drinking glass is one of 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Eighteenth century French tile with a colorful image of a stereotypical Jewish peddler striding along a path with a large wooden box strapped to the back. This tile is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

White porcelain match holder in the shape of a peddler with stereotypical Jewish features: an oversize nose, large, red lips, and wrinkled, blue and white suit, with grasping hands. This figurine is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

White porcelain figurine of a money changer with stereotypical Jewish features: an oversize nose and long, full beard, in a red-brown jacket, with an outstretched hand. This figurine is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Staffordshire creamware double handed cup with 2 transfer painted scenes: one of sailors and a drinking song, Can of Grog, by Charles Didbin. The other image, Lord George Riot made a Jew, depicts the circumcision of Lord George Gordon (1751-1793), a British politician who converted to Judaism and was circumcised in 1787, taking the name Israel Ben Abraham. The title refers to the Gordon Riots of 1780, which began with an anti-Catholic demonstration organized by Gordon to protest the Catholic Relief Act. A crowd of 60,000 gathered and anti-Catholic riots broke out in London for several days. In 1788, Gordon was jailed for libel. He continued observing Jewish rituals, and died in Newgate Prison in 1793. This loving cup is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colorful porcelain figurine of Shylock from Shakespeare's Merchant of Venice. Shylock is a Jewish moneylender who demands that his contract for a pound of flesh, owed him by a youth who failed to repay a loan, be paid in full. First published in 1600 in England, Shylock's characteristics are based upon long standing, stereotypes, still popular in a country where Jews had been expelled 300 years, since 1290. Although some scenes make him sympathetic, and show how society and his Christian enemies cruelly mistreat him, he is punished and forced to convert. The play was extremely popular in Nazi Germany, with fifty productions from 1933-1945. Despite the stereotypical and anti-Jewish elements, the play continues to spark debates over whether it must be considered antisemitic. This figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Brass door knocker with the head of Shylock from Shakespeare's Merchant of Venice. Shylock is a Jewish moneylender who demands that his contract for a pound of flesh, owed by a youth for not repaying a loan, be paid in full. First published in 1600 in England, Shylock's characteristics are based upon long standing stereotypes, still popular in a country where Jews had been expelled for 300 years. At times, the portrayal is sympathetic, and we are shown how society and his Christian enemies cruelly mistreat him, but at the end, Shylock is punished for his greed and forced to convert. The play was extremely popular in Nazi Germany, with fifty productions from 1933-1945. Despite the stereotypical anti-Jewish elements, the play continues to spark debate over whether it is antisemitic. This door knocker is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Two handled vase in Austrian porcelain reproducing Victorian British illustrator Walter Paget's (1863-1935) painting of Portia and Shylock in the courtroom scene from Shakespeare's Merchant of Venice. Shylock is a Jewish moneylender who demands that his contract for a pound of flesh, owed him by a youth who failed to repay a loan, be paid in full. Portia is the woman who poses as a lawyer and defeats Shylock in court. First published in 1600 in England, Shylock's characteristics are based upon long standing, stereotypes, still popular in a country where Jews had been expelled 300 years, since 1290. Although some scenes make him sympathetic, and show how society and his Christian enemies cruelly mistreat him, he is punished and forced to convert. The play was extremely popular in Nazi Germany, with fifty productions from 1933-1945. Despite the stereotypical and anti-Jewish elements, the play continues to spark debates over whether it must be considered antisemitic. This vase is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

William Adams and Sons soup bowl with a scalloped rim with a colorful illustration of Portia and Shylock in the courtroom scene from Shakespeare's The Merchant of Venice. Shylock is a Jewish moneylender who demands that his contract for a pound of flesh, owed him by a youth who failed to repay a loan, be paid in full. First published in 1600 in England, Shylock's characteristics are based upon long standing, stereotypes, still popular in a country where Jews had been expelled 300 years, since 1290. Although some scenes make him sympathetic, and show how society and his Christian enemies cruelly mistreat him, he is punished and forced to convert. The play was extremely popular in Nazi Germany, with fifty productions from 1933-1945. Despite the stereotypical and anti-Jewish elements, the play continues to spark debates over whether it must be considered antisemitic. This bowl is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Melba Ware toby jug of Shylock from Shakespeare's Merchant of Venice. Shylock is a Jewish moneylender who demands that his contract for a pound of flesh, owed him by a youth who failed to repay a loan, be paid in full. First published in 1600 in England, Shylock's characteristics are based upon long standing, stereotypes, still popular in a country where Jews had been expelled 300 years, since 1290. Although some scenes make him sympathetic, and show how society and his Christian enemies cruelly mistreat him, he is punished and forced to convert. The play was extremely popular in Nazi Germany, with fifty productions from 1933-1945. Despite the stereotypical and anti-Jewish elements, the play continues to spark debates over whether it must be considered antisemitic. This pitcher is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Staffordshire character jug depicting Shylock from Shakespeare's The Merchant of Venice. Shylock is a Jewish moneylender who demands that his contract for a pound of flesh, owed him by a youth who failed to repay a loan, be paid in full. First published in 1600 in England, Shylock's characteristics are based upon long standing, stereotypes, still popular in a country where Jews had been expelled 300 years, since 1290. Although some scenes make him sympathetic, and show how society and his Christian enemies cruelly mistreat him, he is punished and forced to convert. The play was extremely popular in Nazi Germany, with fifty productions from 1933-1945. Despite the stereotypical and anti-Jewish elements, the play continues to spark debates over whether it must be considered antisemitic. This pitcher is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Royal Doulton dinner plate depicting Shylock from the Shakespeare play The Merchant of Venice. Shylock is a Jewish moneylender who demands that his contract for a pound of flesh, owed by a youth who failed to repay a loan, be paid in full. First published in 1600 in England, Shylock's characteristics were based upon long standing stereotypes still popular in a country where Jews had been expelled since 1290, 300 years. Although some scenes make him sympathetic, and show how society and his Christian enemies cruelly mistreat him, he is punished and forced to convert. The play was extremely popular in Nazi Germany, with fifty productions from 1933-1945. Despite the stereotypical and anti-Jewish elements, the play continues to spark debates over whether it must be considered antisemitic. The Royal Doulton Shakespeare seriesware was introduced in England in 1912, and produced into the early 1930s. The character is portrayed with recognizably Jewish features, a skull cap, sidecurls, and large nose, similar to 19th century stage performers. This plate is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Brightly colored porcelain figurine of a Jewish peddler in red overcoat and green jacket selling ribbons and cloth from a tray hanging from his shoulder. Likely the work of 19th century Staffordshire potters, it resembles a work by Minton produced in several variations. Jewish peddlers were a familiar sight in 19th century London, especially following the large influx of East European Jews. Those who arrived with no money, could acquire goods on credit and immediately begin selling items on the street. Others were continuing the trade they had pursued previously. This figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colorful terracotta figurine modelled by Anton Sohn in in early 19th century Germany. It is a satirical depiction of an unpleasant looking and unkempt Jewish peddler selling ribbons. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

William Adams and Sons dinner plate decorated with a colorful illustration of Shylock and Tubal from the Shakespeare play, The Merchant of Venice. Shylock is a Jewish moneylender who demands that his contract for a pound of flesh, owed by a youth who failed to repay a loan, be paid in full. Tubal is his friend and also a Jewish moneylender. First published in 1600 in England, Shylock's characteristics were based upon long standing stereotypes still popular in a country where Jews had been expelled since 1290, 300 years. Although some scenes make him sympathetic, and show how society and his Christian enemies cruelly mistreat him, he is punished and forced to convert. The play was extremely popular in Nazi Germany, with fifty productions from 1933-1945. Despite the stereotypical and anti-Jewish elements, the play continues to spark debates over whether it must be considered antisemitic. This plate is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Purple pearl ware pitcher with a transfer print of an alarmed looking Jewish peddler being chased by a women with several brooms. This pitcher is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cut out, painted metal silhouette of a man with stereotypical Jewish features, most noticeably, a huge, hooked nose and red hair, on skies, holding an open black umbrella over his head. A Jew carrying an umbrella was a long standing stereotype, often used to refer to the on the move peddler, or, with more genteel figures, as a sign of the Jews pretentious claim to middle class respectability. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with Jewish caricatures. This folk art piece is an example of racial antisemitism becoming part of everyday life. This figurine is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Comical bronze figurine of a young, not especially promising, Jewish soldier. He appears to wear an Austro-Hungarian Army uniform, post-1908 Hechtgrau [pike grey] issue. The figurine was likely made a few years after this or in the early months of World War I (1914-1918). The figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cartoon, Eight Week Exercise, drawn by an unknown artist, of three very young, and comical looking, youth in ill fitting military uniforms, standing at parade rest. The uniform is likely that of the voluntary Polish Legion, although apart from the cap, in style and fit it resembles the uniform of the Polish Army Podhale Rifles regiment, circa 1930s. This drawing is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Crown Devon chamber pot music box with an image of Hitler inside the bowl. When lifted, it plays Rule Britannia. It is printed with the slogans, "No 1 Jerry", and "Have this on 'Old Nasty'." The company also manufactured one with an image of Hermann Goering and the text: "No 2 Jerry, Flip your ashes on old piggy." This chamber pot music box is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Anti-semitic change plate modeled as Jewish man with a large, curved nose gazing at a pile of gold coins, signed Gluck Stilles. This change plate is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Miniature, colorful ceramic mug in the shape of a Jewish man with an unpleasant facial expression. This mug is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small ceramic figure of a Jewish man with painted sidelocks, a black hat, and long red coat. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bisque coin bank shaped as a man with exaggerated Jewish features with garlic bulbs, the same size as his seated figure, under each arm: one bulb is labeled "So ä fain's" [Such a fine little stink] and "Gerüchle." This statue is one of the 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain figure of a Schadchen, a Yiddish term for matchmaker, in his traditional black suit and blue umbrella. In the 19th century, a Jewish man with his everpresent umbrella became a common stereotype. It was meant to ridicule him for his cultural and social ambitions, with the umbrella as a pretentious and absurd symbol of his attempt to pass himself off as a respectable middle or upper class member of society. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small painted ceramic figurine of an anti-somitic caricature of a Jewish man with stereotypical features: curly hair, hooded eyes, and large nose and llips picking his nose. This bust is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

White parian porcelain figurine, possibly a shadchan, Hebrew for matchmaker, made in late 19th century Russia. They were generally painted for sale. In the 19th century, a Jewish man with his ever present umbrella became a common stereotype. It was meant to ridicule him for his cultural and social ambitions, with the umbrella as a pretentious symbol of his attempt to pass himself off as a respectable middle or upper class member of society. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small ceramic jug shaped as a comical Jewish man holding a collection box, labelled with the words Ikey and I Pay Out. Ikey may refer to a slang term for a stop brake on a rigged wheel of fortune. This pitcher is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Murano color glass figurine of a slender Jewish man Jew holding a large, bulging sack of money, with a suspicious look on his face. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

French rosewood snuffbox with a carving of the popular image, "The Hareskin Dealers," depicting three Jewish peddlers engaged in conversation. This image was extremely popular in 18th-early 19th century northern Europe and was reproduced in various mediums. This snuff box is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small Dutch rosewood snuffbox with a carving of the popular image, "The Hareskin Dealers," depicting three Jewish peddlers engaged in conversation. This image was extremely popular in 18th-early 19th century northern Europe and was reproduced in various mediums. This snuff box is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze figure of a seated Jewish fortune teller with cards. It is possible that this figure was used to hold calling cards, or even as an ashtray, although it seems exceptionally detailed for utilitarian use. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain bisque ashtray with figure of a Polish (?) Jew exclaiming about the cost with German text "God almighty: what an expensive plaster." This ashtray is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colorful terracotta figure group based upon a watercolor, Customs House, created by Hieronymous Hess in 1838. The sculpture was modelled by Anton Sohn in early 19th century Germany. It shows a uniformed French customs agent tormenting a comically dressed Jewish peddler and his small crying son by grinding his foot in the merchant's open sack of belongings. The work has many painted and molded details. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figure group is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colorful terracotta figure group based upon a watercolor, A Feast Day, created by Hieronymous Hess in 1838. The sculpture was modelled by Anton Sohn in early 19th century Germany. It is a tableaux of a Jewish family, one man, three women, and a young boy, conversing and dressed in what are probably their best clothes, although they are shabby and patched. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figure group is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colorful terracotta figure group, Lydia is Married, modelled by Anton Sohn in early 19th century Germany. It depicts four figures, a Jewish man, presenting his daughter to a prospective groom, while bargaining with the matchmaker. Sohn (1769-1841), trained as a church painter, had a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figure group is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colorful terracotta figurine, The Schacherjude [The Haggling Jew], modelled by Anton Sohn in early 19th century Germany. It is a satirical depiction of a negative Jewish stereotype, the bargainer, an upright figure in a black tricorn hat, coat, and an umbrella, gesturing and yelling to someone. Cohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colorful terracotta figure group, Kinder Israel, modelled by Anton Sohn in early 19th century Germany. It is a caricatured depiction of Jewish stereotypes, including the livestock dealer, the scholar/student, and the peddler. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figure group is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colorful terracotta figurine of a Jewish dealer and a bony, worn out cow, modelled by Anton Sohn in early 19th century Germany. It is a satirical depiction of the stereotypical Jewish peddler who always tries to cheat. While the figure is clearly Jewish, the features are not exagerrated to get the point across, reflecting how deeply the concept of the deceitful Jewish salesman was embedded in the culture. Many of Sohn's works were based upon drawings by Hieronymus Hess. This work is on his style, but the original is not known. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colorful terracotta figure group, Horse Trading, modelled by Anton Sohn in early 19th century Germany. It is a satirical and vulgar depiction of two Jewish cattle dealers using deceptive word play to sell an old, worn out cow to a German gentleman. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figure group is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Oak walking stick with a changeable carved handle shaped as the head of a Jewish man with kippah and pointy beard. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This cane is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Black painted walking stick carved from a single piece of wood with the handle made in the shape of a grotesque looking Orthodox Jewish man with a kippah. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This cane is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cast silver plated walking stick handle in the shape of the head of a Jewish peddler with side locks and sharply pointed nose. It has a hollow, open tubular neck made to be inserted over a cylindrical shaft. The soft cap and unkempt appearance were commonly used in representations of both Jewish peddlers and beggars, stock figures often portrayed in popular culture. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking stick knobs are examples of racial antisemitism becoming part of everyday life. This walking stick knob is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Carved natural wood walking stick with a knob handle shaped as a Jewish man with an oversize nose and lips. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This cane is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Wooden knob handle for a figural walking stick carved in the shape of a Jewish man's head with stereotypically Jewish features and a sinister appearance. The name Fagin is carved on the back, although it does not resemble the descriptions of the devil-like Jewish character Fagin from the novel, Oliver Twist, written by Charles Dickens in 1837-8. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. The name Fagin may have been added to expand the market for the item. Items such as this walking stick knob are examples of racial antisemitism becoming part of everyday life. Fagin, referred to as The Jew, is a "villainous and repulsive" character with black nails and teeth like fangs, who kidnaps small children and trains them to be thieves. Dickens expressed a common 19th century prejudice, saying that if he had a character who was a fence, a dealer in stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." This walking stick knob is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.This walking stick knob is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Black wooden cane with a changeable cast silver plated knob handle in the shape of the head of a Jewish peddler with side locks and sharply pointed nose. It has a hollow, open tubular neck that inserts over the cylindrical shaft. The soft cap and unkempt appearance were commonly used in representations of both Jewish peddlers and beggars, stock figures often portrayed in popular culture. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life.This walking stick is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Slender walking stick made from a single stick with a knob handle carved as a grotesque caricature of a Jewish man. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This walking stick is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Walking stick made from a single stick with a head carved in the shape of a young Jewish man in a cap. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life.This walking stick is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Wooden walking staff with a grip handle carved as a Jewish man with a huge nose and a grimace that reveals his missing teeth. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life.This walking stick is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Black wooden cane with an attached, probably changeable, grip carved as a Jewish man’s elongated nose. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This walking stick is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Walking stick with a black wooden shaft and a changeable bone handle carved as the exaggerated, caricatured head of an unattractive Jewish man with one gold tooth and an extremely elongated nose with big warts. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This cane is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze cane knob cast in the shape of a Jewish man's head, wearing a patched kippah. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This cane knob is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Crook handled walking stick with an intricately carved head of a Jewish man with bulging eyes, and a patterned, segmented shaft giving it a snakelike appearance. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This cane is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain pitcher in the form of Fagin, a Jewish criminal referred to as devil-like from the novel, Oliver Twist, by Charles Dickens, 1837-39. His characterization is antisemitic and exploits many negative stereotypes. Called The Jew, Fagin is "villainous and repulsive," with black nails, fangs, and kidnaps small children to make them thieves. Dickens shared a common stereotype of the age, saying that if he had a character who was a fence for stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, and make him a comic figure, but the unpleasant Jewish stereotypes are central to his depiction. This pitcher is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Royal Doulton series ware plate with an illustration of Fagin, a Jewish criminal referred to as devil-like from the novel, Oliver Twist, by Charles Dickens, 1837-39. His characterization is antisemitic and exploits many negative stereotypes. Called The Jew, Fagin is "villainous and repulsive," with black nails, fangs, and kidnaps small children to make them thieves. Dickens shared a common stereotype of the age, saying that if he had a character who was a fence for stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, and make him a comic figure, but the unpleasant Jewish stereotypes are central to his depiction. This plate is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Royal Doulton series ware bowl with an illustration of Fagin, a Jewish criminal referred to as devil-like from the novel, Oliver Twist, by Charles Dickens, 1837-39. His characterization is antisemitic and exploits many negative stereotypes. Called The Jew, Fagin is "villainous and repulsive," with black nails, fangs, and kidnaps small children to make them thieves. Dickens shared a common stereotype of the age, saying that if he had a character who was a fence for stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, and make him a comic figure, but the unpleasant Jewish stereotypes are central to his depiction. This pitcher is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Royal Doulton series ware pitcher with an illustration of Fagin, a Jewish criminal referred to as devil-like from the novel, Oliver Twist, by Charles Dickens, 1837-39. His characterization is antisemitic and exploits many negative stereotypes. Called The Jew, Fagin is "villainous and repulsive," with black nails, fangs, and kidnaps small children to make them thieves. Dickens shared a common stereotype of the age, saying that if he had a character who was a fence for stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, and make him a comic figure, but the unpleasant Jewish stereotypes are central to his depiction. This pitcher is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cast iron fireplace tool holder with poker and tongs in the shape of Fagin, a Jewish criminal from the novel, Oliver Twist, by Charles Dickens, 1837-39. The tongs resemble a trident, referencing the toasting fork Fagin uses in the novel. He is described as devil-like and is often portrayed with a trident shaped toasting fork to emphasize this connection. His characterization is antisemitic and exploits many negative stereotypes. Referred to as The Jew, Fagin is introduced as "villainous and repulsive." His nails are black, his few teeth are fangs, he is greedy, vicious, and kidnaps small children to make them thieves. Dickens rationalized it by saying that if he had a character who was a fence for stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, and make him more of a comic figure, but the unpleasant Jewish stereotypes are central to his depiction. This fireset is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cast iron lamp in the shape of Fagin, a Jewish criminal from the novel, Oliver Twist, by Charles Dickens, 1837-39. He holds a trident, referencing the toasting fork Fagin uses in the novel. He is called devil-like and often portrayed with a trident shaped toasting fork to emphasize this connection. His characterization is antisemitic and exploits many negative stereotypes. Referred to as The Jew, Fagin is introduced as "villainous and repulsive." His nails are black, his few teeth are fangs, he is greedy, vicious, and kidnaps small children to make them thieves. Dickens rationalized it by saying that if he had a character who was a fence for stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, and make him more of a comic figure, but the unpleasant Jewish stereotypes are central to his depiction. This lamp base is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Set of Adams ceramic candlesticks with painted scenes from two novels by Charles Dickens. One has a scene from Oliver Twist, based on an illustration by George Cruikshank of Oliver being introduced to Fagin and the criminal gang. The other has an illustration by Phiz (H.K. Browne) from The Old Curiosity Shop, of the Marchioness and Mr. Swiveller playing cards. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. These candlesticks are two of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Manor pitcher in the shape of Fagin, a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This pitcher is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Brass lever nutcracker cast in the shape of Fagin holding a money bag. This style and similar nutcrackers were mass produced for a long period by the Pearson-Page brass company in England, under several names. Fagin is a devil-like Jewish criminal from the novel, Oliver Twist, by Charles Dickens, 1837-39. The characterization is antisemitic and exploits many negative stereotypes. Referred to as The Jew, Fagin is villainous, greedy and repulsive, with black nails and fangs for teeth, and kidnaps small children to make them thieves. Dickens shared a common prejudice of the day, saying that if he had a character who was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep Fagin's ethnic identity, or make him more of a comic figure, but his Jewishness is central to his depiction. This nutcracker is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain figurine of a rosy cheeked Fagin, a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Royal Doulton porcelain figurine of Fagin, a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ceramic pitcher in the shape of Fagin, a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This pitcher is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Royal Doulton teapot with a painted image of Fagin, a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This teapot is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Fagin ceramic pitcher by Roy Kirkham, a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This pitcher is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Van Dyck Ware plate with an image of Fagin with the pocket handkerchiefs, a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This plate is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ceramic box with Fagin's image on the lid, a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This ceramic box is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

C&E plate with a scene of Oliver Twist, the Artful Dodger, and Fagin, characters from the novel Oliver Twist, 1838-1840, by Charles Dickens. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This plate is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Fagin ceramic mug by Avon Ware. Fagin is a character from the novel Oliver Twist, 1838-1840, by Charles Dickens. He is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. This mug is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painting on glass of Fagin, the devil-like Jewish character from the novel, Oliver Twist, written by Charles Dickens in 1837-8. The image is based on an 1888 illustration by Kyd (Joseph Clayton Clarke.) The characterization is antisemitic and exploits many negative stereotypes. Referred to as The Jew, Fagin is introduced as "villainous and repulsive," with black nails and fanglike teeth. He is greedy and vicious, and kidnaps small children and trains them to be thieves. Dickens rationalized the issue, saying that if he had a character who was a fence, a dealer in stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Later adaptations of the novel tried to sidestep the complications of Fagin's ethnic identity, or make him more of a comic figure, but his stereotypical Jewish traits are central to his depiction. This painting on glass is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bas relief wall plaque of a Jewish man in a shtreimel, a cloth hat with fur trim often worn by Eastern European Orthodox Jews in the 19th-early 20th century. The figure is marked Fagin on the back, but this portrait does not resemble descriptions of that character from the novel Oliver Twist, 1838-1839, by Charles Dickens, although it may have been marketed that way. Caricatures of Jewish figures were commonly used to decorate everyday items, such as ceramics, toys, walking sticks, and cork stoppers, examples of racial antisemitism becoming part of everyday life. This bas-relief plaque is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cast horse brass with an image of Fagin touching his finger to his nose. These medallions were popular decorations for the harnesses of working horses, especially in the mid-19th century. As horses ceased to be used for many tasks in the 20th century, the brasses were used as wall decorations and were popular souvenirs. Fagin is a devil-like Jewish criminal from the novel, Oliver Twist, by Charles Dickens, 1837-39. The novel's characterization is antisemitic and exploits many negative stereotypes. Referred to as The Jew, Fagin is villainous, greedy, and repulsive, with black nails, fanglike teeth, and he kidnaps small children to make them thieves. Dickens shared a common prejudice of the time, saying that if he had a character who was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, or make him more of a comic figure, but his Jewishness is central to his depiction. This ornament is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cast bronze plaque of Fagin, a devil-like Jewish criminal from the novel, Oliver Twist, by Charles Dickens, 1837-39. Plaques of the same shape, size, and design were mass produced in England in 1910 in an inexpensive material known as Ivorex, plaster of Paris dipped in wax. The metal version may have been produced earlier, but the source is not known. Fagin's characterization is antisemitic and exploits many negative stereotypes. Referred to as The Jew, Fagin is villainous, greedy, and repulsive, with black nails, fanglike teeth, and he kidnaps small children to make them thieves. Dickens shared a common prejudice of the time, saying that if he had a character who was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, or make him more of a comic figure, but his Jewishness is central to his depiction. This ornament is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Large color woodblock poster for a late 19th century US theatrical production of Dickens' Oliver Twist. It features a melodramatic scene of Fagin in a jail cell awaiting execution, derived from the original March 1839 illustration by George mm,m. It also has two inset vignettes of the Artful Dodger showing Oliver to his new friends: Fagin and then Fagin, two boys, and Bill Sykes and his dog Bull's Eye. Fagin is a devil-like Jewish criminal from the novel, Oliver Twist, written by Charles Dickens in 1837-39. The characterization is antisemitic and exploits many negative stereotypes. Often referred to as The Jew, Fagin is introduced as "villainous and repulsive." His nails are black, his few teeth are fangs, he is greedy, manipulative, and kidnaps small children and trains them to be thieves. Dickens rationalized the issue, saying that if he had a character who was a fence, a dealer in stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Later adaptations of the novel have tried to sidestep the complications of Fagin's ethnic identity, or make him more of a comic figure, but his Jewishness is central to his depiction. This poster is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze sculpture by Bruno Zach of the pagan deity Mercury as an offensively buffoonish Jewish man. The antisemitic intent of the work is not limited to the loathsome physical depiction. By making the Jewish man in the image of Mercury, the depiction merged Jewish identity with a practice it condemned, idol worship. Mercury was frequently used to symbolize idolatry in rabbinical literature. Mercury was the Roman god of merchants and travellers, as well as thieves, and his caduceus was originally a magical wand used for incantations and alchemy. These were all professions - commerce, peddling, theft, and alchemy, with which Jews were associated in longheld stereotypes. Zach (1891-1935) was a popular sculptor, best known for his erotica, in early 20th century Vienna, Austria, where antisemitism was widespread and openly expressed, and a popular cause for many political parties. This sculpture is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small bronze dish with the caption, Till we three meet again, and a bas relief of three old Jewish men talking on a bench, umbrellas at their side. This souvenir dish is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small bronze dish captioned, Karlsbader Idyll, with a bas relief of three old Jewish men talking on a bench, umbrellas at their side. This souvenir dish is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small iron dish captioned, Mandelblüh, Afterduſt, Finkelstein, with a bas relief of three old Jewish men talking on a bench, umbrellas at their side. This souvenir dish is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Contemporary, carved and painted wooden figure of a Jewish physician from Warsaw, Poland. It has a slogan burned into the pedestal. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Ceramic figure of a stereotypical Jewish man in dilapidated top hat and suit, wearing a boutonniere. On the pedestal is the phrase: Habn Sie Nicht den Kleinen Cohn gesehn [Have you seen the little Cohn]. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.r

Bronze plated metal dish, possibly used as an ashtray, with a bas relief of a Jewish peddler calling at an open window. This dish is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain tobacco container with a painted scene of two Jewish men riding the same horse. This pipe is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Meerschaum pipe bowl with a carved image of a Jewish man holding a pig and a clay display mount.This pipe is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small money bank, opened by a key, shaped like a man, dressed in colorful clothes with a huge nose. This bank is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Capodimonte porcelain figurine of a Jewish gentleman in colorful late 18th century costume, loosely modeled on the pose of the commedia dell'artre figure Pantalone. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain dish painted with a scene named Solomon's Pawnshop, depicting a barefooted poor Christian woman selling something to a Jewish pawn shop owner. This plate is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painted ceramic group, A Stock Market Tip, depicting a Jew whispering into the ear of a wealthy gentleman. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painted ceramic group, A Stock Market Tip, depicting a shabily dressed Jew stadning with his hand on the shoulder of a plump Jewish merchant. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small ceramic plate with a Jewish moocher or beggar dressed in patched clothes being chased by a bulldog above the phrase "Life is just one damn thing after another." This plate is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small novelty plate with a painted image of a Jewish man scratching his armpit framed by a garland of green onions or garlic bulbs. This plate is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Deck of playing cards with a card featuring a dirty and unpleasant looking Jewish peddler labeled Jude. This deck of playing cards is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Comical souvenir 2 part figurine of a young, red haired Orthodox Jewish man who has fallen into a watering trough, yet managed to hold his overflowing beer mug aloft. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painted bisque toothpick holder of a caricatured Jewish man labelled How Much on Dis. This toothpick holder is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze bust with a caricatured depiction of a Jewish man in a suit, labelled Herr V. Mayer, with exaggerated Jewish facial features. This bust is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Wooden spring balanced figure of a Hasidic Jew that sways as if davening. This balancing figure is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Papier-mache puppet used in a puppet show that squeaks when the belly is pushed. The puppet is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bottle opener with a cast brass handle shaped like Fagin, a devil-like Jewish criminal from the novel, Oliver Twist, by Charles Dickens, 1837-39. Fagin's characterization is antisemitic and exploits many negative stereotypes. Referred to as The Jew, Fagin is villainous, greedy, and repulsive, with black nails, fanglike teeth, and he kidnaps small children to make them thieves. Dickens shared a common prejudice of the time, saying that if he had a character who was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, or make him more of a comic figure, but his Jewishness is central to his depiction. This bottle opener is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small plate with a relief image of two Jewish men fighting, called Kampfende Hirsche [Fighting Bucks.] This image is based upon a painting by an unknown artist; see 2016.184.634 for a reproduction. The image is a parody of an extremely popular genre of nature paintings, many also titled Fighting Stags, which presented romanticized visions of magnificent antlered stags fighting in a clearing. There was also a popular photograph published by Oscar Kramer (1835-1892), of Vienna, titled, Kampfende Hirsche, Zwei polnische Juden in e. Balgerei [Fighting Stags: Two Polish Jews in a Tussle], which may have been known by the artist. The Jewish men are viewed as subjects of ridicule for their repellant physical appearance, their ineptness as fighters, and their undignified public behavior. Antisemitism was an increasingly popular topic in Austria at the time. This dish is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Bronze figurine of a self-satisfied, disapproving Jewish businessman with the caption: Now! Vot about it? This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small bronze statue of a shadchan, Hebrew for matchmaker, with his umbrella hanging on his arm. In the 19th century, a Jewish man and his ever present umbrella became a common stereotype. It was meant to ridicule him for his cultural and social ambitions, with the umbrella as a pretentious and absurd symbol of his attempt to pass himself off as a respectable middle or upper class member of society. This statue is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Staffordshire creamware mug depicting Jewish boxer Daniel Mendoza and his former mentor Richard Humphreys, also spelled Humphries, in their third and final bareknuckle boxing match, September 29, 1790, in Doncaster, England. Mendoza held back for several rounds, but still won quickly. Humphreys won the first bout in 1788, and Mendoza the second in 1789. Billed as Mendoza the Jew, he was Champion of England from 1792 to 1795. Mendoza was the first prominent Jewish prizefighter in England. He was smaller than his opponents, and won with superior technique, speed, and agility. His style, known as the Mendoza or Jewish school, is credited with inspiring a generation of boxers and establishing many elements of modern boxing. The mug is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colored etching by James Gillray of Jewish boxer Daniel Mendoza and Bill Ward near the end of a bareknuckle match on May 14, 1792, near Croydon, England. Mendoza won, overpowering Ward, born Warr, and leaving him too injured to walk away unassisted. The match was fought to settle Ward’s dispute with Mendoza’s claim to the title, Champion of England. Billed as Mendoza the Jew, he held the title from 1792 to 1795. He was the first prominent Jewish prizefighter in England and inspired a generation of boxers. Mendoza was smaller than his opponents, and won due to his superior technique, speed, and agility. His style, known as the Mendoza or Jewish school, established many elements of modern boxing. Gillray (1756-1815) was one of the greatest caricaturists of the 18th century. The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Etching by James Gillray of Jewish boxer Daniel Mendoza and his former mentor, Richard Humphreys, in the middle of a boxing match on January 9, 1788, in Odiham, England. Mendoza lost the fight unexpectedly after injuring his leg. This was the first of three matches to decide the Champion. Mendoza beat Humphreys in 1789 and 1790. Billed as Mendoza the Jew, he held the title from 1792 to 1795. He was the first prominent Jewish prizefighter in England and inspired a generation of boxers. Mendoza was smaller than his opponents, and won due to his superior technique, speed, and agility. His style, known as the Mendoza or Jewish school, established many elements of modern boxing. Gillray (1756-1815) was one of the greatest caricaturists of the 18th century. The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Satirical color etching by Thomas Harmar of an allegorical triumphal parade by Richard Humphreys after his victory against Jewish boxer Daniel Mendoza, who was badly injured in their match on January 9, 1788, in Odiham, England. Mendoza’s loss gave his former mentor and his supporters the opportunity to boast about defeating the popular Jew. This was the first of three matches to decide who fought the champion. Mendoza beat Humphreys in 1789 and 1790. Billed as Mendoza the Jew, he held the title of Champion of England from 1792 to 1795, and was the first prominent Jewish prizefighter in England. Mendoza was smaller than his opponents, and won bouts by superior technique, speed, and agility. His style, known as the Mendoza or Jewish school, is credited with inspiring a generation of boxers and establishing elements of modern boxing. The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colored etching by C.R. Ryley of Jewish boxer Daniel Mendoza and his former mentor, Richard Humphreys, in a match on September 29, 1790, in Doncaster, England. Mendoza held back for several rounds, but still won quickly. This was their third match to decide who was Champion. Humphreys won the first bout in 1788 and Mendoza the second in 1789. Billed as Mendoza the Jew, he held the title of Champion of England from 1792 to 1795, and was the first prominent Jewish prizefighter in England. Mendoza was smaller than his opponents, and won bouts with superior technique, speed, and agility. His style, known as the Mendoza or Jewish school, is credited with inspiring a generation of boxers and establishing many elements of modern boxing. The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colored etching by James Gillray with a portrait of Jewish bareknuckle prizefighter Daniel Mendoza in a fighting stance. Billed as Mendoza the Jew, he held the title of Champion of England from 1792 to 1795, and was the first prominent Jewish prizefighter in England. Mendoza was smaller than his opponents, and won his bouts with superior technique, speed, and agility. His style, known as the Mendoza or Jewish school, is credited with inspiring a generation of boxers and establishing many elements of modern boxing. The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colored etching by T. Rowlandson of a scene from Fleet prison whereby a lady is distressed because the prison official is reluctant to accept bail from a Jew. The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Print of public London characters by an unknown artist published in 1827. Such picturesque scenes of urban life were the most lastingly popular series of English prints. The series known as London Cries, often featured outcasts or poor people who made their living on the London streets, such as street vendors, often Jewish, selling fruit, rag, ribbons, and trinkets, laborers, street musicians, and beggars. The street people were usually depicted as diligent workers deserving respect, not as nuisances or figures of fun. They were recognized for the color and conveniences they brought to city life. Pictures depicting public characters and a broader ranges of social types and classes became especially popular in the early 19th century. Scenes he aquatint is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Satirical print by James Gillray of a crazed looking Richard Brothers leading the Jews to the Promised Land. This print was published the day after his March 4, 1795, arrest for interference with state politics, for which he was charged with treasonable practices. Brothers (1757-1824) was the founder of the British Israel movement, self styled Nephew of the Almighty, descendent of David, who claimed he was chosen to return the Jews to the Promised Land. He is shown wearing a red Phrygian cap and no pants, a reference to his opposition to the British war against France, and his support of the sans culottes of the French Revolution, who he viewed as chosen people. The men in his sack are members of Parliament who opposed the war. Brothers claimed to have prophetic visions, such as the destruction of the city of London and the collapse of the monarchy. During his arrest in 1792, Isabella Wake brought him bread weekly, and he foresaw a great role for her in his new Kingdom. After this 1795 arrest, he was found to be a criminal lunatic and sent to an insane asylum. The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Satire of an 1809 royal visit to the Great Synagogue (Bevis Marks) of London by three sons of King George III, represented as "Cumberland Lead" (Duke of Cumberland), 'Cambridge Butter' (Duke of Cambridge) and 'Suffolk Cheese' (Duke of Suffolk). The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

In early July 1807, France signed the Treaties of Tilsit with Russia and Prussia. France and Russia became allies and Austria and Prussia were divided up between them. Napoleon Bonaparte used part of this region to create The Kingdom of Westphalia, where he installed his brother Jerome as King. The region was doing poorly on the financial front. Jerome tried to win favor with the wealthy Jewish community in his Kingdom in order to gain their financial support. He did this by removing many of the disabilities or limiting restrictions forced on Jews of Westphalia. He officially removed the restrictions in Jan. 1808. The image is from September 1807, so while he was trying to win favor with the community. The theme of Jewish people enjoying ham, which was forbidden to them, was common at the time. By decreeing it was now called venison rather than ham in the picture, the artist is poking fun at the Jews and the King. The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Leaf from The Illustrated London News, circa 1880s, with an article by Joseph Pennell, "The Jew at Home", with two illustrations by Pennell. The print is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Vellum scroll with an eyewitness account and remembrance of those lost in a 1918 massacre in Novhorod-Siversʹkyi, Russia, (now Ukraine.) Written soon after the pogrom, it curses the perpetrators, recounts the events, and records a prayer for the dead and the names of the men, women, and children who were murdered. It is the only known eyewitness account of this event. On April 6, 1918, as Red Army troops retreated from the German Army, they attacked the Jews of Novhorod-Siversʹkyi, and 88 were killed. Hostility toward Jews was widespread in the Russian Empire, and the military was notoriously antisemitic. Anti-Jewish pogroms, outbreaks of mass violence, erupted frequently in the early 20th century, causing immense suffering. These scrolls were a traditional way to express community remembrance and to honor victims of pogroms. The practice of recording the names of the dead was done following the Holocaust in memorial books known as Yizkor books, created through the collective efforts of survivors to remember and preserve what was lost. The document is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Sheet music for Abie's Irish Nose, a novelty song by Gene Austin (1900-1972) from 1925 based upon the hit Broadway play, Abie's Irish Rose, by Anne Nichols, which opened in 1922. It is about a young couple, an Irish American woman and a Jewish man, who marry despite the objections of their family. The sheet music is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Edison wax cylinder recording of the vaudeville song, "When Moshe with his nose leads the band ...". When the sheet music was published, the title was changed to, "When Mose with his nose leads the band ...", presumably to give it wider appeal and make it less offensive. The wax cylinder is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Comedy sketch with music, Der Pedler, performed by Sam Silberbusch and Sadie Wachtel. It was recorded on a wax cylinder by Thomas A. Edison's company. The wax cylinder is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Color etching of a soldier encountering a Jewish peddler whose head sits on a nearby post. The caption, Like a Jew in Krahwinkel without a head, refers to the stereotype of the excitable, overreacting Jewish peddler who, when pushed into a corner, looses his head. The fact that he reacts this way when confronted by an authority figure, such as a soldier, supports the antisemitic notion that he has something to hide and has probably done something wrong. The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colored etching, A Rapturous view of the Sun, with a caricature of a Jewish peddler sitting on a rock along the road outside a village, regarding the bright yellow sun above the mountain. The etching is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Coupon receipt for a 10 heller donation to the local chapter of the Deutsch-Österreichischer Schutzverein Antisemitenbund [German-Austrian Defensive League of Anti-Semites] in Amstetten, Austria. There were 100 hellers to a krone and the coupons were issued in several denominations with antisemitic quotes from different historical figures. The goal of the Antisemitenbund was to unite all anti-Semites, in order to protect them from the economic, political, and social influence of the Jews. They called for the legal separation of Jews and non-Jews, the expulsion of Jews who arrived after 1914, and wanted to ban Jews from public office, professions, land ownership, and other rights. The League was founded during the financial crisis of 1919, when many politicians, and the public, blamed Jews for the chaos, sparking sometimes violent demonstrations. It grew rapidly, attracting members from all political and social groups. By the 1930s, the group was dominated by Austrian Nazi Party members, while asserting its independence and nonpolitical nature. In March 1938, Germany annexed Austria, and the League was dissolved. The coupon is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Coupon receipt for a 20 heller donation to the local chapter of the Deutsch-Österreichischer Schutzverein Antisemitenbund [German-Austrian Defensive League of Anti-Semites] in Amstetten, Austria. There were 100 hellers to a krone and the coupons were issued in several denominations with antisemitic quotes from different historical figures. The goal of the Antisemitenbund was to unite all anti-Semites, in order to protect them from the economic, political, and social influence of the Jews. They called for the legal separation of Jews and non-Jews, the expulsion of Jews who arrived after 1914, and wanted to ban Jews from public office, professions, land ownership, and other rights. The League was founded during the financial crisis of 1919, when many politicians, and the public, blamed Jews for the chaos, sparking sometimes violent demonstrations. It grew rapidly, attracting members from all political and social groups. By the 1930s, the group was dominated by Austrian Nazi Party members, while asserting its independence and nonpolitical nature. In March 1938, Germany annexed Austria, and the League was dissolved. The coupon is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Coupon receipt for a 50 heller donation to the local chapter of the Deutsch-Österreichischer Schutzverein Antisemitenbund [German-Austrian Defensive League of Anti-Semites] in Amstetten, Austria. There were 100 hellers to a krone and the coupons were issued in several denominations with antisemitic quotes from different historical figures. The goal of the Antisemitenbund was to unite all anti-Semites, in order to protect them from the economic, political, and social influence of the Jews. They called for the legal separation of Jews and non-Jews, the expulsion of Jews who arrived after 1914, and wanted to ban Jews from public office, professions, land ownership, and other rights. The League was founded during the financial crisis of 1919, when many politicians, and the public, blamed Jews for the chaos, sparking sometimes violent demonstrations. It grew rapidly, attracting members from all political and social groups. By the 1930s, the group was dominated by Austrian Nazi Party members, while asserting its independence and nonpolitical nature. In March 1938, Germany annexed Austria, and the League was dissolved. The coupon is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Antisemitic, anti-Allies Nazi propaganda handbill issued in German occupied Netherlands showing the leaders of America, England, and the Soviet Union following the tune of a Jewish man playing a pipe. In May 1940, Germany invaded and occupied the Netherlands, setting up a civil administration supervised by the SS. In June 1941, Germany broke its pact with the Soviet Union and launched an invasion into Russia. On December 7, 1941, Japan attacked Pearl Harbor. Since Germany had a mutual assistance pact with Japan, they declared war against the US four days later. Germany produced war propaganda in the language of the countries they occupied to convince the local populations of the threat posed by the Allies and the need to support the war effort. In this piece, they claim that the Allies are tools of the long standing Jewish conspiracy to dominate the world through their control of international finance. The handbill is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Print depicting the martyrdom of Simon of Trent in 1475, with a large scene below depicting a Jew, the Devil and the pig. The engraving is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Postcard with a handwritten message, mailed in Vienna, with a color drawing of three pigs in overcoats and hats, talking while seated on a bench holding their umbrellas. They have stereotypical Jewish features, including curled sidelocks and protruding noses. Since the medieval period, antisemites frequently portrayed Jews as pigs, Judensau, because Judaism considers pigs unclean and forbids the consumption of pork. The portrayal of three, usually, older, Jewish men with their umbrellas sitting on a bench was popularized in Karlsbad, Bohemia, (now Karlovy Vary, Czech Republic) a popular spa town for European Jewry from the late 19th century. Figurines and cards with this scene were popular souvenir items. The postcard is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Hand carved wax model to cast an image of the famous scene, "Moishele swallowed a ducat," based on the satirical antisemitic booklet ‘Schabbes Lamp.’ The plaque is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Decorative bronze dish with an image of a Jewish family watching a boy sitting on a chamberpot on the kitchen table. It depicts a popular scene known as Moishele swallowed a ducat, from the satirical antisemitic booklet, Schabbes Lamp. The plaque is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cast iron plate with a Jewish man passing horizontally through a pig: his feet stick out the mouth and his head sticks out the rear. The plate is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painted earthenware figure group of three pigs in overcoats and hats, sitting close together on a bench holding umbrellas. Their detailed faces have stereotypical Jewish features, such as sidelocks and large, protruding noses. Since the medieval period, antisemites frequently portrayed Jews as pigs, Judensau, because Judaism considers pigs unclean and forbids the consumption of pork. The portrayal of three, usually, older, Jewish men with their umbrellas sitting on a bench was a scene often encountered in spa towns such as Marienbad (now Mariánské Lázně, Czech Republic) and Karlsbad, Bohemia, (now Karlovy Vary, Czech Republic) that were popular with European Jewry from the late 19th century. Figurines, small dishes, and cards with this scene were sold as souvenir items. The figure group is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Embossed silver goblet, possibly used as a kiddush cup, with an older Korn Jude medal embedded in the side. A kiddush cup is a ceremonial vessel to hold wine for the blessing said at Shabbat and Jewish holiday meals. The Korn Jude medal was issued to propagate an antisemitic myth about a 17th century famine in Germany. The Jews were accused of hoarding the grain and selling it at inflated prices. The cup is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Pamphlet reprint of a letter from a US anti-Semite to a noted Jewish historian about the trial held in 1934 in Bern, Switzerland, about the authenticity of "The Protocols of the Elders of Zion," a notorious document that described a vast Jewish criminal conspiracy to take over the world. The Swiss Nazi Party was distributing The Protocols at rallies and the local Jewish community, Schweizerischer Israelitischer Gemeindebund (Swiss Federation of Jewish Communities) and the Israelitische Kultusgemeinde Bern (Jewish Congregation Bern) took them to trial for distributing an antisemitic hoax. The judge ordered both sides to produce expert witnesses to prove whether the Protocols were authentic or a forgery. The Nazis could produce no expert witnesses. They were found guilty and the judge declared the document a forgery. The pamphlet is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

A B C chapbook "for use by small children who learn to read and large people who do not yet understand French", published in Vichy France. It encourages readers to collaborate with the Germans and to hate Jews and English people. The pamphlet is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Album of color caricatures of Emile Zola by H. Lebourgeois. The scenes place Zola in the predicaments explored in his writings, such as the novels Germinal and Nana, or involved in the causes about which he was passionate, such as the unjust court martial for treason of a Jewish military officer, Alfred Dreyfus. The Dreyfus Affair was used by politicians and the press as evidence of the disloyalty and treachery of all Jews. Zola wrote a public letter to protest the verdict, titled J'Accuse, in which he accused the French Army of covering up this prejudiced conviction. Zola was charged with libel and the Dreyfus Affair became a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial, the Army again convicted him. Dreyfus was pardoned by the president to end the crisis. The caricatures are one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Infamous antisemitic children's book, Der Giftpilz [The Poisonous Mushroom or Toadstool] with illustrations by Fips. It was similar to a previous book, Ein Bilderbuch für Gross und Klein (see record 2016.184.220) by the publisher, Stürmer Verlag, a division of the viciously anti-Jewish newspaper, Der Stürmer, owned by Nazi Party stalwart Julius Streicher. The book explains how Jews are like poisonous mushrooms and should be eradicated. Fips was the pen name of Philip Rupprecht, the paper's well known antisemitic cartoonist. Fips and Streicher were arrested by the US Army in May 1945. Fips was tried by a German denazification court and sentenced to six years hard labor. Streicher was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct indictment to murder and a crime against humanity. The book is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Notorious antisemitic children's book, Trust No Fox in the Green Meadow and No Jew on his Oath [English translation], in case, with illustrations by Fips and nursery rhymes by Elvira Bauer. It was published by Stürmer Verlag, a division of the viciously anti-Jewish newspaper, Der Stürmer, owned by Nazi Party stalwart Julius Streicher. Fips was the pen name of Philip Rupprecht, the paper's well known antisemitic cartoonist. The author, Elvira Bauer, an 18 year old German kindergarten teacher, wrote the book to explain Nazi racial ideology and expose Jews as evil creatures who can not be trusted. The title refers to a quote from Martin Luther's 1543 pamphlet, Von den Juden and ihren Lügen [On the Jews and their Lies.] Bauer's later history is unknown. Fips and Streicher were arrested by the US Army in May 1945. Fips was tried by a German denazification court and sentenced to six years hard labor. Streicher was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct indictment to murder and a crime against humanity. The book is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustrated page from Harper's Weekly magazine of April 19, 1890, v. 34, featuring four wood engravings by William Allen Rogers of street life in New York City. This magazine illustration is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Newsprint illustration, Judische Emigraten in Brody (Galizien), Jewish emigrants in Brody (Galicia) with 6 detailed, captioned vignettes of Jewish life in Brody, circa 1882, when it was a gateway to the west for thousands of Jews seeking to leave Eastern Europe. By May 1882, there were around 12,000 Jewish refugees in Brody. In 1772, Brody was annexed by the Austro-Hungarian Empire; from 1919-1939, it was part of Poland, and since the end of the war in 1945, it has been part of Ukraine. In 1880, Jews made up 75 percent of the population and it was an intellectual center and a thriving trading hub. As a border town, Brody was a central passageway for Jews escaping pogroms in Russia, intending to immigrate to America or Western Europe. The illustration is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustration from the London News, December 27, 1879, depicting a crowded soup kitchen in the Jewish East End of London. The illustration is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Advertisement for Entstehung der Menfchenraffen [Genesis of Human Races], a racial science book by Hans Weinert published in Nazi Germany. It has a photographic illustration of a Jewish man as an example of an inferior race. The advertising flier is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Book of travel observations, The Jew at Home, by the American illustrator Joseph Pennell (1857-1926.) It consists primarily of articles Pennell wrote for the lllustrated London News during his travels in Austria, Hungary, Austrian Poland, and Russia in December 1891. Pennell announces in the preface that he is neither a Jew hater nor a Jew lover and that he has only written of things seen during his journey. But he was repulsed by much that he saw and the portrait he draws is extremely unflattering. His last word on the matter is to advise those who encounter Jews as immigrants in their country is to : "Make him an Englishman or an American, break up his old customs, clannishness, his dirt, and his filth - or he will break you." The book is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Madison's budget, an early 20th American humor compendium with monologues, gags, wise-cracks, and stage bits. Its cover line is: "My business is to make the world laugh." It was written and published twice yearly by James Madison (d. 1943) and anyone who bought it, cost - $1.00 - could use the material for free. Most of the material was ethnic or racial in content; targets included Jews, blacks, Chinese, and others. The series began in 1898, and stretched from ther era of minstrel shows and vaudeville to radio. The cover illustration has four comics, two recognizably Jewish, but all vaudeville types. This magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Life Magazine with a cartoon featuring a dandified caveman shopping for a new skirt made of leaves from a tailor caveman with stereotypical Jewish features. This magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Book of cartoons by Caran d'Ache, made to resemble an oversize book of checks. All feature stereotypes of Jewish bankers, tailors, waiters, etc. usually presenting or taking checks. Caran D'Ache was the pen name of Emanuel Poire, a Russian born cartoonist who achieved renown in France with his antisemitic, anti-Dreyfus Lundi [Monday] cartoons in the newspaper Le Figaro. From 1898-1899, during the height of the Dreyfus affair, he published an anti-semitic, anti-Dreyfus satirical journal "Psst..." , which also featured the work of Jean Louis Forain (1852-1931). The booklet is one of the more than 900 items The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of an antisemitic, anti-communist French journal exposing the links between Jews and Communism. The cover announces, Le Mensonge Officiel [The official lie] with illustrations about the victimization of the Russian people by Jewish financiers, with other articles claiming the Jews invented Communism. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Social Justice, a national weekly founded by Rev. Charles E. Coughlin in 1936 to promote his antisemitic, anticapitalist populist ideology. Coughlin (1891-1979) was a Catholic priest whose Sunday radio broadcasts, beginning in 1926, made him a major force in the US. His audience, soon reaching 20-30 million, saw him as the champion of the common man. He crusaded against Communism and, in 1934, turned against Roosevelt and formed the National Union for Social Justice. Coughlin's message increasingly focused on the threat posed by Jews, and the Communists and bankers they controlled, who were out to get the common man. In summer 1938, Social Justice serialized "The Protocols of the Elders of Zion", an infamous antisemitic propaganda piece. That fall, after Kristallnacht, Coughlin said Jews brought the pogrom upon themselves. In April 1942, after the US entered the war, the Justice Dept. investigated the paper for pro-Axis propaganda. Distribution by US mail was prohibited. A few weeks later, the Catholic Church ordered Coughlin to cut his ties to the newspaper and cease non-pastoral activities. This newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of the popular French satiric journal, Le Rire [To Laugh] which was celebrated for its front and back cover full color illustrations. Many artists created drawings for it, including Toulouse-Lautrec, Steinlein, and Cappiello. The journal began as a Belle Epoque publication in 1894 under its founder Felix Julien. It was a time of great political and social unrest and the magazine did its best to make fun of them all. The issues in this collection date from the 1894-1899, the years of L'Affaire Dreyfus, a political scandal revolving around anti-semitism that inflamed France. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of the popular French satiric journal, Le Rire [To Laugh] which was celebrated for its front and back cover full color illustrations. Many artists created drawings for it, including Toulouse-Lautrec, Steinlein, and Cappiello. The journal began as a Belle Epoque publication in 1894 under its founder Felix Julien. It was a time of great political and social unrest and the magazine did its best to make fun of them all. The issues in this collection date from the 1894-1899, the years of L'Affaire Dreyfus, a political scandal revolving around anti-semitism that inflamed France. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of the popular French satiric journal, Le Rire [To Laugh] which was celebrated for its front and back cover full color illustrations. Many artists created drawings for it, including Toulouse-Lautrec, Steinlein, and Cappiello. The journal began as a Belle Epoque publication in 1894 under its founder Felix Julien. It was a time of great political and social unrest and the magazine did its best to make fun of them all. The issues in this collection date from the 1894-1899, the years of L'Affaire Dreyfus, a political scandal revolving around anti-semitism that inflamed France. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of the popular French satiric journal, Le Rire [To Laugh] which was celebrated for its front and back cover full color illustrations. Many artists created drawings for it, including Toulouse-Lautrec, Steinlein, and Cappiello. The journal began as a Belle Epoque publication in 1894 under its founder Felix Julien. It was a time of great political and social unrest and the magazine did its best to make fun of them all. The issues in this collection date from the 1894-1899, the years of L'Affaire Dreyfus, a political scandal revolving around anti-semitism that inflamed France. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of the popular French satiric journal, Le Rire [To Laugh] which was celebrated for its front and back cover full color illustrations. Many artists created drawings for it, including Toulouse-Lautrec, Steinlein, and Cappiello. The journal began as a Belle Epoque publication in 1894 under its founder Felix Julien. It was a time of great political and social unrest and the magazine did its best to make fun of them all. The issues in this collection date from the 1894-1899, the years of L'Affaire Dreyfus, a political scandal revolving around anti-semitism that inflamed France. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of the popular French satiric journal, Le Rire [To Laugh] which was celebrated for its front and back cover full color illustrations. Many artists created drawings for it, including Toulouse-Lautrec, Steinlein, and Cappiello. The journal began as a Belle Epoque publication in 1894 under its founder Felix Julien. It was a time of great political and social unrest and the magazine did its best to make fun of them all. The issues in this collection date from the 1894-1899, the years of L'Affaire Dreyfus, a political scandal revolving around anti-semitism that inflamed France. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of the popular French satiric journal, Le Rire [To Laugh] which was celebrated for its front and back cover full color illustrations. Many artists created drawings for it, including Toulouse-Lautrec, Steinlein, and Cappiello. The journal began as a Belle Epoque publication in 1894 under its founder Felix Julien. It was a time of great political and social unrest and the magazine did its best to make fun of them all. The issues in this collection date from the 1894-1899, the years of L'Affaire Dreyfus, a political scandal revolving around anti-semitism that inflamed France. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustrated supplement to the French magazine, Le Petit Journal, first published in 1860 by Moïse Maillaud, with supplements, from 1890-1920. The color cover illustration by Henri Meyer (1844-1899) is captioned: "Campement D'Emigrants Juifs A La Gare De Lyon," and depicts chiefly Eastern European Jews in colorful costumes camped in the streets outside the Gare de Lyon train station in Paris, waiting to immigrate to America. This journal is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustrated supplement to the French magazine, Le Petit Journal, first published in 1860 by Moïse Maillaud, with supplements, from 1890-1920. The color cover illustration by Henri Meyer (1844-1899) is captioned: "Campement D'Emigrants Juifs A La Gare De Lyon," and depicts chiefly Eastern European Jews in colorful costumes camped in the streets outside the Gare de Lyon train station in Paris, waiting to immigrate to America. This journal is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustrated supplement to the French magazine, Le Petit Journal, published in France from 1890-1920. The cover illustration is captioned: "Le capitaine Dreyfus devant le conseil de guerre." The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed late 19th century France. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling military secrets. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. Emile Zola wrote a letter to protest the verdict, titled J'Accuse, in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial, the Army again convicted Dreyfus, who was then pardoned by the president to end the crisis. This journal is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustrated supplement to the French magazine, Le Petit Journal, published in France from 1890-1920. The cover illustration is captioned: "Le Traitre, Degradation d'Alfred Dreyfus." The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed late 19th century France. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling military secrets. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. Emile Zola wrote a letter to protest the verdict, titled J'Accuse, in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial, the Army again convicted Dreyfus, who was then pardoned by the president to end the crisis. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustrated supplement to the French magazine, Le Petit Journal, published in France from 1890-1920. The cover illustration is captioned: "Alfred Dreyfus dans sa prison." The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed late 19th century France. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling military secrets. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. Emile Zola wrote a letter to protest the verdict, titled J'Accuse, in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial, the Army again convicted Dreyfus, who was then pardoned by the president to end the crisis. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustrated supplement to the French magazine, Le Petit Journal, published in France from 1890-1920. The cover illustration is captioned: "L'Affaire Zola. : Grave incident d'audience : le colonel Henry et le lieutenant-colonel Picquart." The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed late 19th century France. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling military secrets. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. Emile Zola wrote a letter to protest the verdict, titled J'Accuse, in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial, the Army again convicted Dreyfus, who was then pardoned by the president to end the crisis. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustrated supplement to the French magazine, Le Petit Journal, published in France from 1890-1920. The cover illustration is captioned: "Affaire Zola - La Cour de cassation." The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed late 19th century France. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling military secrets. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. Emile Zola wrote a letter to protest the verdict, titled J'Accuse, in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial, the Army again convicted Dreyfus, who was then pardoned by the president to end the crisis. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustrated supplement to the French magazine, Le Petit Journal, published in France from 1890-1920. The cover illustration is captioned: "Si vous continuez, je vous mets tous a la porte!!!" The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed late 19th century France. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling military secrets. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. Emile Zola wrote a letter to protest the verdict, titled J'Accuse, in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial, the Army again convicted Dreyfus, who was then pardoned by the president to end the crisis. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustrated supplement to the French magazine, Le Petit Journal, published in France from 1890-1920. The cover illustration is captioned: "Incident Esterhazy-Picquart." The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed late 19th century France. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling military secrets. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. Emile Zola wrote a letter to protest the verdict, titled J'Accuse, in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial, the Army again convicted Dreyfus, who was then pardoned by the president to end the crisis. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustrated supplement to the French magazine, Le Petit Journal, published in France from 1890-1920. The cover illustration is captioned: "L'Affaire Dreyfus: La prison militaire de Rennes." The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed late 19th century France. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling military secrets. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. Emile Zola wrote a letter to protest the verdict, titled J'Accuse, in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial, the Army again convicted Dreyfus, who was then pardoned by the president to end the crisis. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustrated supplement to the French magazine, Le Petit Journal, published in France from 1890-1920. The cover illustration is captioned: "Affaire Dreyfus: Dreyfus et ses defenseurs." The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed late 19th century France. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling military secrets. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. Emile Zola wrote a letter to protest the verdict, titled J'Accuse, in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial, the Army again convicted Dreyfus, who was then pardoned by the president to end the crisis. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustrated supplement to the French magazine, Le Petit Journal, published in France from 1890-1920. The cover illustration is captioned: "Le proces de Rennes, Dreyfus amene au Conseil de guerre." The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed late 19th century France. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling military secrets. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. Emile Zola wrote a letter to protest the verdict, titled J'Accuse, in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial, the Army again convicted Dreyfus, who was then pardoned by the president to end the crisis. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

December 1936 issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The headline reads: Der Weltverbrecher [The World Criminal] with a drawing of a Jewish soldier running past a prostrate woman, with a Soviet hammer and sickle in the background, captioned Die Rote Schande [The Red Shame.] The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

August 1937 issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The headline reads: Alljuda, Der grosse Drahtzieher des Bölfermordens [Alljuda, The great mastermind of the Jewish Bolshevik Murderer.] The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

October 1936 issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The headline reads: Die Antwort an Theologen und Schriftgelehrte, Die heilige' Schrift [The answer to the theologians and scribes, The Holy Scriptures.] The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The headline reads: Das Talmudweib. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Sturmer, a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's frequent subtitle was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

July 1937 issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The headline reads: Das größte erf, Die Errettung der deutschen Frau [The greatest pleasure, The salvation of the German woman] with an illustration of an unsavory Jewish man captioned Satanische Rechnung [Satanic Reckoning.] The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

April 1937 isue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The headline reads: Istjuden, Die schleichen sich in Deutschland ein [The Jews, who sneak into Germany] with an illustration of a sneaky looking Jewish businessmen and an angry German, captioned Betrogen [Deceived.] The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of Der Stürmer, [The Stormtrooper], a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The newspaper's slogan was "Die Juden sind unser Unglück!" [The Jews are our misfortune]. The paper thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons and staff cartoonist Fips. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of La Libre Parole, a rabidly antisemitic and racist illustrated newspaper with the slogan "La France aux Français!" [France for the French!] published from 1892-1897. The cover illustration for this issue is: "Le veritable tout a l'egout - Courtet" below an image of a French working man sweeping a caricature of a Jew into the sewer. The newspaper was founded by the journalist Edouard Drumont, who claimed in an 1896 book, La France Juive [The French Jew] that Jews were responsible for everything that had gone wrong in France and were a threat to all good Frenchmen. Drumont was also a rabid anti-Dreyfusard. The journal quickly became very influential. In 1889, Drumont founded the Ligue Nationale antisémitique de France. He was elected to the national legislature in 1898. The newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of La Libre Parole, a rabidly antisemitic and racist illustrated newspaper with the slogan "La France aux Français!" [France for the French!] published in France from 1892-1924. The cover illustration caption for this issue: "Les avatares de Simon dit Lockroy - Courtet." The newspaper was founded by the journalist Edouard Drumont, who claimed in an 1896 book, La France Juive [The French Jew] that Jews were responsible for everything that had gone wrong in France and were a threat to all good Frenchmen. Drumont was also a rabid anti-Dreyfusard. The journal quickly became very influential. In 1889, Drumont founded the Ligue Nationale antisémitique de France. He was elected to the national legislature in 1898. The newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of La Libre parole, a rabidly antisemitic and racist illustrated newspaper with the slogan "La France aux Français!" [France for the French!] published in France from 1892-1924. The cover illustration caption for this issue: "Moralisation a outrance - Courtet." The newspaper was founded by the journalist Edouard Drumont, who claimed in an 1896 book, La France Juive [The French Jew] that Jews were responsible for everything that had gone wrong in France and were a threat to all good Frenchmen. Drumont was also a rabid anti-Dreyfusard. The journal quickly became very influential. In 1889, Drumont founded the Ligue Nationale antisémitique de France. He was elected to the national legislature in 1898. The newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of La Libre parole, a rabidly antisemitic and racist illustrated newspaper with the slogan "La France aux Français!" [France for the French!] published in France from 1892-1924. The cover illustration is by Chanteclair, captioned: "Quel temps de chiens..." The newspaper was founded by the journalist Edouard Drumont, who claimed in an 1896 book, La France Juive [The French Jew] that Jews were responsible for everything that had gone wrong in France and were a threat to all good Frenchmen. Drumont was also a rabid anti-Dreyfusard. The journal quickly became very influential. In 1889, Drumont founded the Ligue Nationale antisémitique de France. He was elected to the national legislature in 1898. The newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of "La Libre parole", a rabidly antisemitic and racist illustrated newspaper with the slogan "La France aux Français!" [France for the French!] published in France from 1892-1924. The cover illustration is by Chanteclair, captioned: "Naquet, le defenseur des pauvres youppins." The newspaper was founded by the journalist Edouard Drumont, who claimed in an 1896 book, La France Juive [The French Jew] that Jews were responsible for everything that had gone wrong in France and were a threat to all good Frenchmen. Drumont was also a rabid anti-Dreyfusard. The journal quickly became very influential. In 1889, Drumont founded the Ligue Nationale antisémitique de France. He was elected to the national legislature in 1898. The newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of La Libre parole, a rabidly antisemitic and racist illustrated newspaper with the slogan "La France aux Français!" [France for the French!] published in France from 1892-1924. The cover illustration is captioned: "La question d'argent - le triomphe du juif Alexandre Dumas Fils, lui-meme, l'avait predit." The newspaper was founded by the journalist Edouard Drumont, who claimed in an 1896 book, La France Juive [The French Jew] that Jews were responsible for everything that had gone wrong in France and were a threat to all good Frenchmen. Drumont was also a rabid anti-Dreyfusard. The journal quickly became very influential. In 1889, Drumont founded the Ligue Nationale antisémitique de France. He was elected to the national legislature in 1898. The newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of La Libre Parole, a rabidly antisemitic and racist illustrated newspaper with the slogan "La France aux Français!" [France for the French!] published in France from 1892-1924. The cover illustration is captioned: "Commnet fullez-fous que les mines d'or elles pasissant? Tout le monte il lit la"Lipre Barole"!... --Ch'ai une itee: if fant lancer la National Antisemit Gold Mine." The newspaper was founded by the journalist Edouard Drumont, who claimed in an 1896 book, La France Juive [The French Jew] that Jews were responsible for everything that had gone wrong in France and were a threat to all good Frenchmen. Drumont was also a rabid anti-Dreyfusard. The journal quickly became very influential. In 1889, Drumont founded the Ligue Nationale antisémitique de France. He was elected to the national legislature in 1898. The newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of La Libre Parole, a rabidly antisemitic and racist illustrated newspaper with the slogan "La France aux Français!" [France for the French!] published from 1892-1924. The cover illustration caption for this issue: " La revanche de Dreyfus. Les accaparements a la bourse de commerce." The newspaper was founded by the journalist Edouard Drumont, who claimed in an 1896 book, "La France Juive" [The French Jew] that Jews were responsible for everything that had gone wrong in France and were a threat to all good Frenchmen. Drumont was also a rabid anti-Dreyfusard. The journal quickly became very influential. In 1889, Drumont founded the Ligue Nationale antisémitique de France. He was elected to the national legislature in 1898. The newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of La Libre Parole, a rabidly antisemitic and racist illustrated newspaper with the slogan "La France aux Français!" [France for the French!] published from 1892-1924. The cover illustration caption for this issue: "Le coup de mines d'or. --Hirsch (de Londred) a Ganzberg (de Paris): Miousic! Miousic! Ca marche!!" The newspaper was founded by the journalist Edouard Drumont, who claimed in an 1896 book, "La France Juive" [The French Jew] that Jews were responsible for everything that had gone wrong in France and were a threat to all good Frenchmen. Drumont was also a rabid anti-Dreyfusard. The journal quickly became very influential. In 1889, Drumont founded the Ligue Nationale antisémitique de France. He was elected to the national legislature in 1898. The newspaper is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Two prints, one a text only sheet with historical background for the other, a colored engraving of Joseph Süss Oppenheimer (1698-1738) in the cage made to hang and display his body after his execution on January 4, 1738, in Stuttgart, Germany. The undated engravings are from a three page publication issued by Johann Andreas Mattsperger around the time of the execution. Oppenheimer, known as Joseph or Jud Süss, was a Jewish banker who administered the finances of Duke Karl Alexander of Wurttemberg, enriching the Duke and himself. Others were envious and resentful of his success, feelings increased by his actions, such as granting contracts to Jews and easing settlement restrictions. When the Duke died unexpectedly in March 1737, Oppenheimer was arrested, tried for fraud and treason, and sentenced to death. A huge crowd watched the hanging and the body was left hanging in public for six years. In 1939, a film, Jud Süss, was produced by Goebbels's Nazi Propaganda Ministry. The inflammatory, antisemitic film portrayed Jew Süss as a grotesquely exaggerated, greedy, unscrupulous Jewish businessman who rapes a non-Jewish woman. The film was a major success throughout Europe. The print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small colored print with a satiric portrait of Joseph Suss Oppenheimer (1698-1738) (Jud Suss) being attacked by small devils. The print, made in 1738, around the time of the event, is based upon a drawing by Johann Baumgarter. Oppenheimer was a Jewish banker who administered the finances of Duke Karl Alexander of Wurttemberg, enriching the Duke and himself. Others were envious and resentful of his success, feelings increased by his actions, such as granting contracts to Jews and easing settlement restrictions. When the Duke died unexpectedly in March 1737, Oppenheimer was arrested, tried for fraud and treason, and sentenced to death. A huge crowd watched the hanging and the body was left hanging in public for six years. In 1939, a film, Jud Süss, was produced by Goebbels's Nazi Propaganda Ministry. The inflammatory, antisemitic film portrayed Jew Süss as a grotesquely exaggerated, greedy, unscrupulous Jewish businessman who rapes a non-Jewish woman. The film was a major success throughout Europe. The print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Print published in the Illustrierte Chronik der Zeit, a newspaper published in Stuttgart, Germany, depicting the capture of Joseph Suss Oppenheimer (1698-1738) (Jud Suss) by Baron Noder. The print is based upon an 1873 work by Professor T. Haberlin. Oppenheimer was a Jewish banker who administered the finances of Duke Karl Alexander of Wurttemberg, enriching the Duke and himself. Others were envious and resentful of his success, feelings increased by his actions, such as granting contracts to Jews and easing settlement restrictions. When the Duke died unexpectedly in March 1737, Oppenheimer was arrested, tried for fraud and treason, and sentenced to death. A huge crowd watched the hanging and the body was left hanging in public for six years. In 1939, a film, Jud Süss, was produced by Goebbels's Nazi Propaganda Ministry. The inflammatory, antisemitic film portrayed Jew Süss as a grotesquely exaggerated, greedy, unscrupulous Jewish businessman who rapes a non-Jewish woman. The film was a major success throughout Europe. The print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Engraved print with color pictures and text telling the story of the rise and fall of Joseph Süss Oppenheimer (1698-1738), circulated not long after the events. Oppenheimer, known as Joseph or Jud Süss, was a Jewish banker who administered the finances of Duke Karl Alexander of Wurttemberg, enriching the Duke and himself. Others were envious and resentful of his success, feelings increased by his actions, such as granting contracts to Jews and easing settlement restrictions. When the Duke died unexpectedly in March 1737, Oppenheimer was arrested, tried for fraud and treason, and sentenced to death. A huge crowd watched the hanging and the body was left hanging in public for six years. In 1939, a film, Jud Süss, was produced by Goebbels's Nazi Propaganda Ministry. The inflammatory, antisemitic film portrayed Jew Süss as a grotesquely exaggerated, greedy, unscrupulous Jewish businessman who rapes a non-Jewish woman. The film was a major success throughout Europe. The print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Unusual 18th century publication of woodcuts with verses, in six sections, some composed as imaginary conversations between Sabathai Sevi (Shabtai Tzvi) and Joseph Suss Oppenheimer (Jud Suss). The book is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

London Transport poster of a Jewish peddler advertising Petticoat Lane Market near Aldgate East underground station. It is from a painting by Elijah Albert Cox titled, Petticoat Lane, silk hat and tie vendor, part of the series, London Characters, created by Cox for the Underground Railway Company. Other pictures were a flower woman, conductor, Covent Garden porter, and newsboy. The poster was made to display on bus front panels and tram side panels. The series continued a popular tradition of English pictures, known as Cries of London, about colorful and familiar characters who made their living on the London streets. Petticoat Lane Market, still in business, is one of the oldest market sites in London, in an area known as the Jewish East End from the 1880s through the second World War. The arrival of large numbers of East European Jews caused a resurgence of street vendors, and Jews were the main traders in the Market. Immigrants with no resources would acquire goods on credit and immediately begin selling on the streets. The Lane was also a center of criminal activity, especially for fences and dealers in stolen goods, such as Ikey Solomon, a real life version of Fagin in Dickens' Oliver Twist. The poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Oil portrait of two Jewish men, one in Hasidic dress, the other in a business suit, deep in conversation. The painting is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Picutre postcard with the caption: "Ein jüdischer Händler mit Christenflesh" [A Jewish dealer in Christian flesh]. It has a print of two turbaned Sephardic Jews, one a merchant displaying a nude Christian woman, to the other, a potential customer. The postcard is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

19th century German and Jewish humor anthology with woodcut illustrations, some presenting satirical tales and images of Jews. The book is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Book of 24 antisemitic caricatures by Philip (Fips) Rupprecht of unflattering Jewish stereotypes. Most were previously published in Der Stürmer, the viciously anti-Jewish newspaper published by Nazi Party stalwart Julius Streicher where Fips worked from 1923-1945. Fips and Streicher were arrested by the US Army in May 1945. Fips was tried by a German denazification court, and sentenced to six years hard labor. Streicher was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct indictment to murder and a crime against humanity. The book is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

"Ohe, Les Diregeants" (Oh, the Leaders!), an antisemitic dramatic satire of unscrupulous Jewish businessmen, by Gyp, pen name of the Countess Martel de Janville. It has around seventy full page color illustrations by Petit Bob, another pseudonym used by de Janville, a prolific writer and caricaturist. An anti-Dreyfusard, her distinctly styled antisemitic illustrations were extremely popular. The book is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Elaborate illustrated parody of the Hagadah, bound in burlap, with pages simulating papyrus. The book is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustrated antisemitic book published in Nazi Germany in two editions. It has nasty, grostesque images, poems, and text of Jewish figures from myth and the Old Testament: Genesis, Book of Joshua, Book of Judges, Kings, Chronicles, and the Book of Esther. This is a 1940 paper back version based on the 1936 original. The book is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Folio of nineteen lithographic prints of merchants and street vendors in mid-19th century Warsaw by Jan Felix Piwarski (Piwarskiego) (1794-1859) from his unfinished series, Kram malowniczy warszawski. The folio includes two series, eight prints each. The prints are finely detailed portraits of peddlers and merchants going about their business, most in open air settings. Piwarski studied drawing and languages before moving to Warsaw in 1816. In 1818, he became curator of the Print Room at Warsaw University Library until 1834 when the University was closed by Czar Nicholas I of Russia in the wake of the suppressed Polish November Uprising. Piworski then had a successful career as a teacher and artist. He invented new lithographic techniques which gave his work a delicate, painterly quality. He was know for his carefully observed landscapes, and for his numerous series depicting people on the streets of Warsaw involved in their daily activities. The folio is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Illustrated antisemitic book, Der ewige Jew, published by the Nazi Party. It is a vicious, inflammatory work denigrating and ridiculing Jews throughout history to justify the Nazi goal of making Germany Judenfrei [Free of Jews]. The book is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Book with a series of photographs of pogroms published in the Soviet Union in 1926. The book is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colorful caricature in ink and watercolor of three Jewish men in a forced labor unit. They stand facing each other, two carry shovels, one a broom. Their stereotypical Jewish features have been exaggerated for comical effect. The drawing is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Oil painting of three well dressed Jewish merchants. They are often identified as hareskin dealers, a trade associated with itinerant Jewish traders. This image was extremely popular in northern Europe in the late 18th-early 19th century and was reproduced in various mediums. There are versions in this collection in paintings, as well as wooden boxes and ceramic containers. The painting is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Oil painting of three well dressed Jewish merchants. They are often identified as hareskin dealers, a trade associated with itinerant Jewish traders. This image was extremely popular in northern Europe in the late 18th-early 19th century and was reproduced in various mediums. There are versions in this collection in paintings, as well as wooden boxes and ceramic containers. The painting is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

19th century watercolor drawing depicting an unpleasant looking Jewish peddler arguing with a farmwife while two boys steal money from the back of his wagon. The painting is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Lithograph by Konstantin Guise (1810-1858) after a drawing by Hieronymus Hess (1799-1850), ca. 1823. It depicts a monk giving a sermon to an assembly of Jews who were forced to listen to a Christian sermon every Saturday. These mandatory gatherings were held at the church of Sant'Angelo in Pescharia in Rome from the 17th to the 19th century. The engraving is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Lithograph by Konstanine von Guise (1810-1858) after a drawing by Hieronymus Hess (1799-1850), ca. 1823. It depicts an unruly crowd of men in a synagogue interior in Rome. The men stand in several groups, talking, smoking, reading, and sleeping, with some apparently engaged in business deals. A few men wearing tallit, or prayer shawls, appear to be trying to worship amid the crowd. The print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painting on plywood of two stereotypical Jewish schnorrers carrying sandwich boards advertising a fire sale at a Jewish clothing store. Sales advertised as fire sales were used by merchants to recover something from a loss and to get rid of damaged goods at low prices. As more Jewish immigrants arrived in the US in the late 19th century, they took up traditional professions as peddlers and merchants and were met with antisemitic attitudes similar to those in Europe. Jewish tradesmen were often accused of being shifty and dishonest. Cartoons suggesting that Jews staged fake or continuous fire sales were popular images in the casual antisemitism expressed in popular culture at the time. Schnorrers, a sort of beggar or freeloader, were stock figures from Yiddish folklore carried over into antisemitic lore as examples of the burdens Jews placed on society. The painting is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Hand drawn cartoon poking fun at the brit milah, the Jewish rite of circumcision, the removal of the penis foreskin. The picture shows an Orthodox Jewish man with oversize scissors making clipping gestures to an oversize baby. The man is presumably a mohel, a person qualified to perform the ritual. The brit milah is generally performed when a male child is eight days old, but it is a procedure that all males, including converts, must undergo to become a Jew. The work was crafted by an unknown person, likely in early 20th century America. The paperwork is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colored print of a drawing, "Les Differentes Positions Sociales" [Different Social Positions] with a stepped platform with labelled figures illustrating their class and their method of exploitation. The Jew is at the top, with a label stating that he exploits them all. The print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Watercolor by Georg Emmanuel Opiz of a busy Jewish schoolroom with groups of boys and a few adults engaged in different scholarly or playful activities. Opiv (or Opitz, Prague 1775-1841 Leipzig) was a genre painter known for his charming, colorful scenes of everyday life, often with a comical or satiric point of view. He began as a portrait painter, and after sojourns in Vienna, Paris, and Heidelberg, Opiv settled in Leipzig were he was a teacher, magazine illustrator and continued to create his highly observant and detailed genre work, often disseminated in print series. This painting is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Print depicting two elegantly dressed women buying oranges from a Jewish street vendor. It was made by Luigi Schiavonetti after a painting by Francis Wheatley. This print was included in the 1924 book, Cries of London, record 2016.184.686, a set of thirteen prints depicting London street workers. These picturesque scenes of urban outcasts, known as London Cries, poor people who made their living on the London streets, were the most lastingly popular series of English prints. The pictures feature street vendors, such as Jewish fruit, rag, or ribbon sellers, and depict them as diligent workers deserving respect, not as nuisances or figures of fun. The print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Expressionistic style oil painting on wood depicting two old Orthodox Jewish men conversing on the street. The painting is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Plate from a 19th century lithographic catalog of Warsaw types, including many Jewish street vendors, by Jan Felix Piwarski (1794-1859), possibly from his unfinished series, Kram malowniczy warszawski. This print depicts a young man in a fez and two Jewish money lenders as they conclude their business - exchanging a signed contract for a bag of money. Piwarski studied drawing and foreign languages before moving to Warsaw in 1816. In 1818, he was appointed curator of the Print Room at Warsaw University Library. He held this position until 1834 when the University was closed by Czar Nicholas I of Russia following the suppression of the Polish November Uprising. Piworski then had a successful career as a teacher and artist. He invented new lithographic techniques which gave his work a delicate, painterly quality. Piwarski introduced the practice of painting and sketching in the outdoors. He was known for his carefully observed landscapes, and for his numerous series of works depicting people on the streets of Warsaw involved in their daily activities. The folio is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Plate from a 19th century lithographic catalog of Warsaw types, including many Jewish street vendors, by Jan Felix Piwarski (1794-1859), possibly from his unfinished series, Kram malowniczy warszawski. This print is a finely detailed and captioned portrait of a Jewish peddler of used clothes. Piwarski studied drawing and foreign languages before moving to Warsaw in 1816. In 1818, he was appointed curator of the Print Room at Warsaw University Library. He held this position until 1834 when the University was closed by Czar Nicholas I of Russia following the suppression of the Polish November Uprising. Piworski then had a successful career as a teacher and artist. He invented new lithographic techniques which gave his work a delicate, painterly quality. Piwarski introduced the practice of painting and sketching in the outdoors. He was known for his carefully observed landscapes, and for his numerous series of works depicting people on the streets of Warsaw involved in their daily activities. The folio is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Small colorful theatrical poster depicting a city square with a statue of the Virgin Mary where Jews are being attacked and slaughtered during a pogrom. The lithograph is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cover of Psst...!, an antisemitic, anti-Dreyfus satirical journal founded in 1898 by Caran d'Ache, at the height of the Dreyfus Affair. This cover from August 19, 1899, directs the satires and incites outrage at the treasonous links between Zola, Jews, and the German military supposedly exposed by the scandal. Caran D'Ache was the pen name of Emanuel Poire, a Russian born cartoonist who achieved renown in France with his antisemitic, anti-Dreyfus Lundi [Monday] cartoons in the newspaper Le Figaro. This political scandal revolving around antisemitism inflamed late 19th century France. Dreyfus, an army captain, was found guilty of treason in 1894 for selling military secrets to Germany. He was used by politicians and the press as a symbol of the disloyalty and treachery of all French Jews. Zola wrote a letter, J'Accuse, to protest the verdict, accusing the French Army of a cover up. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army officer was found to have forged the document proving Dreyfus's guilt. But in a second trial, despite the traitor's confession, the Army again convicted Dreyfus. The verdict was met with outrage and the president pardoned Dreyfus to end the crisis. The magazine cover is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Courtroom portrait of Alfred Dreyfus awaiting the verdict in his August-September 1899 court martial trial in Rennes, France. The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed late 19th century France. Dreyfus was an army captain found guilty of treason in 1894 for selling military secrets. Antisemitic publications used Dreyfus as a symbol of the disloyalty and treachery of all French Jews. In 1896, another man was tried and acquitted of the crime. Emile Zola wrote a letter, J'Accuse, to protest the verdict, accusing the French Army of a cover up. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army officer was found to have forged the document proving Dreyfus's guilt. But in this second trial at Rennes, despite the confession of the traitor, the Army again convicted Dreyfus. The verdict was met with outrage around the world. The President pardoned Dreyfus to end the crisis. The lithograph is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cover of the December 28, 1895, issue of the popular French satiric journal, Le Rire [To Laugh] which was celebrated for its front and back cover full color illustrations. This issue has a cover cartoon by Gyp depicting France as a young beautiful woman surrounded by greedy Jews involved in famous financial scandals. Many artists created drawings for it, including Toulouse-Lautrec, Steinlein, and Cappiello. The journal began as a Belle Epoque publication in 1894 under its founder Felix Julien. It was a time of great political and social unrest and the magazine did its best to make fun of them all. The issues in this collection date from the 1894-1899, the years of L'Affaire Dreyfus, a political scandal revolving around anti-semitism that inflamed France. The magazine cover is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Courtroom illustration by Vincent Brooks of the court martial trial of Alfred Dreyfus in Rennes, France, which began in August 1899. The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed France in the late 19th century. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling French military secrets to the Germans. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. In 1896, another man was tried and acquitted of the same crime. Emile Zola, a prominent author and journalist, wrote a letter to protest the verdict, titled "J'Accuse," in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in this second trial at Rennes, despite the confession of the traitor, Esterhazy, the Army again convicted Dreyfus. On September 9, he was sentenced to prison for another ten years. The verdict was met with outrage around the world, and there were threats to boycott the World's Fair in Paris in 1900. Dreyfus was offered a pardon by the president to end the crisis, which he accepted September 19. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Dreyfus-Bilderbuch, an anti-Dreyfus picture book with 132 caricatures of Dreyfus, Zola, and others involved in the scandal. The Dreyfus Affair was a national scandal revolving around antisemitism that inflamed late 19th century France. Captain Alfred Dreyfus was found guilty of treason in 1894 for selling military secrets. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. Zola wrote a letter to protest the verdict, "J'Accuse," in which he accused the Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army officer was found to have forged the document proving Dreyfus's guilt. But in a second trial, the Army again convicted Dreyfus. The verdict was met with international outrage. Dreyfus was offered a pardon by the president to end the crisis. The book is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Special issue of Graphic, an illustrated periodical published in London in 1899, dedicated to "The Martyrdom of Alfred Dreyfus: A Historical Summary of the Whole Case." The Dreyfus Affair was an antisemitic French political scandal that inflamed public opinion worldwide in the late 19th century. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling military secrets. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. Emile Zola wrote a letter to protest the verdict, titled "J'Accuse," in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial, despite the confession of the traitor, the Army again convicted Dreyfus. He was sentenced to prison for another ten years. The verdict was met with outrage around the world. Dreyfus was offered a pardon by the president to end the crisis, which he accepted September 19. The magazine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Poster with a caricature of Baron James de Rothschild with his face on the body of a crouching dog hoarding sacks of money. It was part of Musee des Horreurs, an antisemitic series featuring 52 vicious caricatures of well known Jews and others involved in the Dreyfus Affair. It was produced in 1899-1900 by an artist under the pseudonym V. Lenepveu. The Rothschild family was not involved in the scandal, but their prominence made them targets of the anti-Jewish fanaticism engulfing France. The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed France in the late 19th century. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling French military secrets to the Germans. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. In 1896, another man was tried and acquitted of the same crime. Emile Zola, a prominent author and journalist, wrote a letter to protest the verdict, titled "J'Accuse," in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial at Rennes, despite the confession of the traitor, Esterhazy, the Army again convicted Dreyfus. On September 9, he was sentenced to prison for another ten years. The verdict was met with outrage around the world, and there were threats to boycott the World's Fair in Paris in 1900. Dreyfus was offered a pardon by the president to end the crisis, which he accepted September 19. The poster is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Poster with a caricature of Leonora de Rothschild with her head on the body of a shaggy goat with withered teats and a gold locket. It was part of Musee des Horreurs, an antisemitic series featuring 52 vicious caricatures of well known Jews and others involved in the Dreyfus Affair. It was produced in 1899-1900 by an artist under the pseudonym V. Lenepveu. The Rothschild family was not involved in the scandal, but their prominence made them targets of the anti-Jewish fanaticism engulfing France. The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed France in the late 19th century. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling French military secrets to the Germans. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. In 1896, another man was tried and acquitted of the same crime. Emile Zola, a prominent author and journalist, wrote a letter to protest the verdict, titled "J'Accuse," in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial at Rennes, despite the confession of the traitor, Esterhazy, the Army again convicted Dreyfus. On September 9, he was sentenced to prison for another ten years. The verdict was met with outrage around the world, and there were threats to boycott the World's Fair in Paris in 1900. Dreyfus was offered a pardon by the president to end the crisis, which he accepted September 19. The poster is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Poster with a caricature of Charlotte de Rothschild with her face on the body of an old monkey with sagging breasts and a pearl choke collar. It was part of Musee des Horreurs, an antisemitic series featuring 52 vicious caricatures of well known Jews and others involved in the Dreyfus Affair. It was produced in 1899-1900 by an artist under the pseudonym V. Lenepveu. The Rothschild family was not involved in the scandal, but their prominence made them targets of the anti-Jewish fanaticism engulfing France. The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed France in the late 19th century. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling French military secrets to the Germans. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. In 1896, another man was tried and acquitted of the same crime. Emile Zola, a prominent author and journalist, wrote a letter to protest the verdict, titled "J'Accuse," in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial at Rennes, despite the confession of the traitor, Esterhazy, the Army again convicted Dreyfus. On September 9, he was sentenced to prison for another ten years. The verdict was met with outrage around the world, and there were threats to boycott the World's Fair in Paris in 1900. Dreyfus was offered a pardon by the president to end the crisis, which he accepted September 19. The poster is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Poster with a caricature of Philipp de Rothschild with his weeping face on the body of an eagle nailed to a wall. It was part of Musee des Horreurs, an antisemitic series featuring 52 vicious caricatures of well known Jews and others involved in the Dreyfus Affair. It was produced in 1899-1900 by an artist under the pseudonym V. Lenepveu. The Rothschild family was not involved in the scandal, but their prominence made them targets of the anti-Jewish fanaticism engulfing France. The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed France in the late 19th century. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling French military secrets to the Germans. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. In 1896, another man was tried and acquitted of the same crime. Emile Zola, a prominent author and journalist, wrote a letter to protest the verdict, titled "J'Accuse," in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial at Rennes, despite the confession of the traitor, Esterhazy, the Army again convicted Dreyfus. On September 9, he was sentenced to prison for another ten years. The verdict was met with outrage around the world, and there were threats to boycott the World's Fair in Paris in 1900. Dreyfus was offered a pardon by the president to end the crisis, which he accepted September 19. The poster is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Poster with a caricature of Baron Mayer Alphonse de Rothschild with his head on the body of an ape with clawed hands digging through a chest of gold coins. It was part of Musee des Horreurs, an antisemitic series featuring 52 vicious caricatures of well known Jews and others involved in the Dreyfus Affair. It was produced in 1899-1900 by an artist under the pseudonym V. Lenepveu. The Rothschild family was not involved in the scandal, but their prominence made them targets of the anti-Jewish fanaticism engulfing France. The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed France in the late 19th century. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling French military secrets to the Germans. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. In 1896, another man was tried and acquitted of the same crime. Emile Zola, a prominent author and journalist, wrote a letter to protest the verdict, titled "J'Accuse," in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial at Rennes, despite the confession of the traitor, Esterhazy, the Army again convicted Dreyfus. On September 9, he was sentenced to prison for another ten years. The verdict was met with outrage around the world, and there were threats to boycott the World's Fair in Paris in 1900. Dreyfus was offered a pardon by the president to end the crisis, which he accepted September 19. The poster is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Poster with a caricature of Baron Mayer Alphonse de Rothschild with his head on the body of an octopus. It was part of Musee des Horreurs, an antisemitic series featuring 52 vicious caricatures of well known Jews and others involved in the Dreyfus Affair. It was produced in 1899-1900 by an artist under the pseudonym V. Lenepveu. The Rothschild family was not involved in the scandal, but their prominence made them targets of the anti-Jewish fanaticism engulfing France. The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed France in the late 19th century. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling French military secrets to the Germans. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. In 1896, another man was tried and acquitted of the same crime. Emile Zola, a prominent author and journalist, wrote a letter to protest the verdict, titled "J'Accuse," in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial at Rennes, despite the confession of the traitor, Esterhazy, the Army again convicted Dreyfus. On September 9, he was sentenced to prison for another ten years. The verdict was met with outrage around the world, and there were threats to boycott the World's Fair in Paris in 1900. Dreyfus was offered a pardon by the president to end the crisis, which he accepted September 19. The poster is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Poster with a caricature of Joseph Reinach with his head on the body of a very fat monkey holding a manuscript page. It was part of Musee des Horreurs, an antisemitic series featuring 52 vicious caricatures of well known Jews and others involved in the Dreyfus Affair. It was produced in 1899-1900 by an artist under the pseudonym V. Lenepveu. Reinach, a Jewish lawyer and publicist, was a passionate defender of Dreyfus, whose seven volume work, Histoire de l'affaire Dreyfus, was published from 1901-1911. The title plays off an 1880 work by de Maupassant, Boule de Suif [Ball of Fat], about the Franco-Prussian war. The Rothschild family was not involved in the scandal, but their prominence made them targets of the anti-Jewish fanaticism engulfing France. The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed France in the late 19th century. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling French military secrets to the Germans. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. In 1896, another man was tried and acquitted of the same crime. Emile Zola, a prominent author and journalist, wrote a letter to protest the verdict, titled "J'Accuse," in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial at Rennes, despite the confession of the traitor, Esterhazy, the Army again convicted Dreyfus. On September 9, he was sentenced to prison for another ten years. The verdict was met with outrage around the world, and there were threats to boycott the World's Fair in Paris in 1900. Dreyfus was offered a pardon by the president to end the crisis, which he accepted September 19. The poster is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Poster with a caricature of Nathan Mayer Rothschild with his head on the body of a dog digging for gold coins in Waterloo, battleground of France's greatest defeat at the time. Nathan had secured funding for Wellington's troops. The poster was part of Musee des Horreurs, an antisemitic series featuring 52 vicious caricatures of well known Jews and others involved in the Dreyfus Affair. It was produced in 1899-1900 by an artist under the pseudonym V. Lenepveu. The Rothschild family was not involved in the Dreyfus scandal, and Nathan had died in 1836, but their prominence made them targets of the anti-Jewish fanaticism engulfing France. The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed France in the late 19th century. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling French military secrets to the Germans. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. In 1896, another man was tried and acquitted of the same crime. Emile Zola, a prominent author and journalist, wrote a letter to protest the verdict, titled "J'Accuse," in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial at Rennes, despite the confession of the traitor, Esterhazy, the Army again convicted Dreyfus. On September 9, he was sentenced to prison for another ten years. The verdict was met with outrage around the world, and there were threats to boycott the World's Fair in Paris in 1900. Dreyfus was offered a pardon by the president to end the crisis, which he accepted September 19. The poster is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Poster with a caricature of Carl (Karl) Mayer Rothschild with his head on the body of a striped cat using its claws to pull contraband over the French-German border. It was part of Musee des Horreurs, an antisemitic series featuring 52 vicious caricatures of well known Jews and others involved in the Dreyfus Affair. It was produced in 1899-1900 by an artist under the pseudonym V. Lenepveu. The Rothschild family was not involved in the scandal, but their prominence made them targets of the anti-Jewish fanaticism engulfing France. The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed France in the late 19th century. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling French military secrets to the Germans. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. In 1896, another man was tried and acquitted of the same crime. Emile Zola, a prominent author and journalist, wrote a letter to protest the verdict, titled "J'Accuse," in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial at Rennes, despite the confession of the traitor, Esterhazy, the Army again convicted Dreyfus. On September 9, he was sentenced to prison for another ten years. The verdict was met with outrage around the world, and there were threats to boycott the World's Fair in Paris in 1900. Dreyfus was offered a pardon by the president to end the crisis, which he accepted September 19. The poster is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Anti-Jewish poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition in Belgrade from October 22, 1941, to January 19, 1942. It depicts a grotesquely caricatured Jewish man dancing ecstatically on a huge pile of broken skeletons while playing a violin. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination. Jews were portrayed as the source of all evil, which had to be destroyed, along with Jewish controlled countries, such as the Soviet Union and the US, and any outsider groups that opposed Nazi Germany. Yugoslavia was invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government of Milan Nedic in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Anti-Jewish poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition in Belgrade from October 22, 1941, to January 19, 1942. It has a caricature of a diabolical Jewish man with a long beard that turns into snakes with symbols for Capitalism, Communism and Freemasonry. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination with the intent to increase hatred against outsider groups that opposed Nazi Germany. Yugoslavia had been invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Anti-Jewish poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition in Belgrade from October 22, 1941, to January 19, 1942. It depicts a grotesque caricature of an oversized Jewish man pulling a rope around the necks of six men in business clothes to show the ways Jews manipulate financial markets and have a stranglehold on business. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination with the intent to increase hatred against outsider groups that opposed Nazi Germany. Yugoslavia had been invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Anti-Jewish poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition in Belgrade from October 22, 1941, to January 19, 1942. Poster has a cartoon of a Jewish man with the tools of Communism and commerce with which he strives to control the world. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination with the intent to increase hatred against outsider groups that opposed Nazi Germany. Yugoslavia had been invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Anti-Jewish poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition in Belgrade from October 22, 1941, to January 19, 1942. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination with the intent to increase hatred against outsider groups that opposed Nazi Germany. Yugoslavia had been invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Anti-Jewish poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition in Belgrade from October 22, 1941, to January 19, 1942. It portrays a large, stereotypical Orthodox Jewish man holding a small scale balancing Joseph Stalin against a stack of US dollars and British pounds. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination. Jews were portrayed as the source of all evil, which had to be destroyed, along with Jewish controlled countries, such as the Soviet Union and the US, and any outsider groups that opposed Nazi Germany. Yugoslavia was invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government of Milan Nedic in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Anti-Jewish poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition in Belgrade from October 22, 1941, to January 19, 1942. It has cartoons of Stalin, Roosevelt, and Churchill meeting at a table hiding Jewish caricatures with a plan to Bolshevize England and the US. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination with the intent to increase hatred against outsider groups that opposed Nazi Germany. Yugoslavia had been invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Anti-Jewish poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition in Belgrade from October 22, 1941, to January 19, 1942. It depicts a caricature of an evil looking Jewish man looming over the globe with the key to a giant safe. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination with the intent to increase hatred against outsider groups that opposed Nazi Germany. Yugoslavia had been invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Anti-Jewish poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition in Belgrade from October 22, 1941, to January 19, 1942. It depicts a smirking Jewish puppeteer operating marionettes resembling Stalin and Churchill. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination with the intent to increase hatred against outsider groups that opposed Nazi Germany. Yugoslavia had been invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Anti-Jewish poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition in Belgrade from October 22, 1941, to January 19, 1942. It depicts a Jewish businessman engaged in a conspiracy with Great Britain, the Soviet Union, and the United States to provoke war against Germany. The poster was printed in several languages and distributed in the occupied countries to promote the idea that Jews were manipulating the Allied Powers. See 2009.213.4 for a French version and 1990.193.9. for a German verison. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination with the intent to increase hatred against outsider groups that opposed Nazi Germany. Yugoslavia had been invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Anti-Jewish poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition in Belgrade from October 22, 1941, to January 19, 1942. The poster was printed in several languages and distributed in the occupied countries to promote the idea that Jews were manipulating the Allied Powers. See 2009.213.4 for a French version and 1990.193.9. for a German version. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination with the intent to increase hatred against outsider groups that opposed Nazi Germany. Yugoslavia had been invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Anti-Jewish poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition in Belgrade from October 22, 1941, to January 19, 1942. It has a caricature of an evil looking Jewish man in a skullcap snarling with bared teeth. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination. Jews were portrayed as the source of all evil, which had to be destroyed, along with Jewish controlled countries, such as the Soviet Union and the US, and any outsider groups that opposed Nazi Germany. Yugoslavia was invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government of Milan Nedic in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Antisemitic propaganda poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition held in Belgrade from October 22, 1941, to January 19, 1942. It features a Jewish businessman atop a pile of manufactured goods that are crushng the workers at the bottom. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination. Jews were portrayed as the source of all evil, which had to be destroyed, along with Jewish controlled countries, such as the Soviet Union and the US, and any outsider groups that opposed Nazi Germany. Yugoslavia was invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government of Milan Nedic in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Antisemitic propaganda poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition held in Belgrade from October 22, 1941, to January 19, 1942. It features a Jewish man directing spiders with symbols of the Soviet Union, Masonry, and money to weave a conspiracy web. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination. Jews were portrayed as the source of all evil, which had to be destroyed, along with Jewish controlled countries, such as the Soviet Union and the US, and any outsider groups that opposed Nazi Germany. Yugoslavia was invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government of Milan Nedic in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Antisemitic propaganda poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition held in Belgrade from October 22, 1941, to January 19, 1942. This poster shows an angry Orthodox Jewish man marching at the front of a long formation of Orthodox and assimilated Jewish men. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination. Jews were portrayed as the source of all evil, which had to be destroyed, along with Jewish controlled countries, such as the Soviet Union and the US, and any outsider groups that opposed Nazi Germany. Yugoslavia was invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government of Milan Nedic in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Antisemitic propaganda poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition held in Belgrade from October 22, 1941, to January 19, 1942. It has a cartoon of an Orthodox Jewish man holding a Star of David enclosing caricatures or symbols of Stalin, the US, and England. The exhibition focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination. Jews were portrayed as the source of all evil, which had to be destroyed, along with Jewish controlled countries, such as the Soviet Union and the US, and any outsider groups that opposed Nazi Germany. Yugoslavia was invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government of Milan Nedic in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Antisemitic propaganda poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition held in Belgrade from October 22, 1941, to January 19, 1942. It has a drawing of a Jewish man kissing the cheek of an innocent looking peasant while a man resembling Stalin looks on approvingly. The title refers to the betrayal of Jesus by Judas Iscariot. Nazi Germany had been at war with Britain since 1939, but were allied with the Soviet Union until the German June 1941 invasion. To support that expansion of the war, they produced propaganda linking Great Britain and the Soviet Union as joint members of the Jewish conspiracy. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination. Jews were portrayed as the source of all evil, which had to be destroyed, along with Jewish controlled countries, such as the Soviet Union and the US, and any outsider groups that opposed Nazi Germany. Yugoslavia was invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government of Milan Nedic in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Nazi propaganda poster issued in German occupied Serbia in early 1942 for the Grand Anti-Masonic Exhibition. It depicts the head of a sinister, caricatured Jew as the puppet master of international Jewry, watching two cartoon figures, John Bull for England, and Stalin for the Soviet Union, shaking hands over a map of Europe. Many different languages were spoken in the territories controlled or coveted by the Third Reich. Nazi propgandists often issued the same posters in multiple languages. This poster had French, German, and Serbian versions. This Nazi was comprised of multiple territoriesempire controlled The Nazi propaganda In June 1941, Germany launched a surprise attack on their ally, the Soviet Union, breaking the pact made in 1939, a temporary measure to aid the invasion of Poland. Since the 1920s, Hitler had denounced the Soviet Union as a stronghold of the Jewish Bolshevik conspiracy which threatened Germany's safety and the plan to attack the USSR was underway in 1940. The German attack led to an alliance between the Soviet Union and Great Britain, as well as the United States, countries already at war with Germany. Yugoslavia was invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government of Milan Nedic in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Antisemitic propaganda poster issued in German occupied Serbia in the fall of 1941 for the Grand Anti-Masonic Exhibition held in Belgrade from October 22, 1941, to January 19, 1942. It depicts Arthur Hays Sulzberger, the Jewish publisher of the New York Times from 1935-1961, breaking through the front page of the newspaper. The poster denounces the hidden Jewish influence that corrupts the news. This is ironic as Sulzberger as editor is now viewed as having downplayed the antisemitism of Nazi Germany and the Holocaust that destroyed European Jewry. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination. Jews were portrayed as the source of all evil, which had to be destroyed, along with Jewish controlled countries, such as the Soviet Union and the US, and any outsider groups that opposed Nazi Germany. Yugoslavia was invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government of Milan Nedic in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Antisemitic propaganda poster issued in German occupied Serbia in the fall of 1941. It portrays Franklin D. Roosevelt and Winston Churchill sitting on a seesaw balanced on a globe, controlled by a caricatured Orthodox Jew. The poster was created for the Grand Anti-Masonic Exhibition held in Belgrade from October 22, 1941, to January 19, 1942. The exhibit focused on the alleged Jewish-Communist-Masonic conspiracy to achieve world domination. Jews were portrayed as the source of all evil, which had to be destroyed, along with Jewish controlled countries, such as the Soviet Union and the US, and any outsider groups that opposed Nazi Germany. Yugoslavia was invaded and dismembered by the Axis powers in April 1941. Germany annexed most of Slovenia and placed Serbia under military occupation. The exhibition was organized by the Serbian puppet government of Milan Nedic in collaboration with the German occupiers. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Antisemitic, anti-Allies poster produced and posted in towns around Germany by the Propaganda Division of the Nazi Party. It details an international Jewish conspiracy which controls the Allied powers and threatens the security of Germany. Roosevelt, Churchill, and Stalin are revealed as the main supports of the conspiracy and their governments are shown to be dominated by an overwhelmingly majority of Jews. The poster was issued in 1941 for the Parole der Woche (Slogan of the Week) series produced by the Nazi Party in Germany from 1936-1943. The series was discontinued in 1943 because of paper shortages caused by the prolonged war. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Poster for a meeting and speech about the Jewish/Bolshevik threat against Germany sponsored by the local Nazi Party of East Hannover. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Antisemitic propaganda poster produced by the Christian Socialist Party of Austria for the 1920 national election. It shows a vicious looking hybrid head of a Jewish man and a vulture on the body of a snake squeezing the lifeblood from a crowned Austrian eagle, with a sickle in its claw and dropped hammer, symbols of Austrian farmers and artisans. Antisemitism was central to the Party's ideology and Jews were blamed for the corrupting, destructive effects of capitalism and liberalism. The German Catholic oriented party wanted to stop the entry of more Jews into Austria and segregate and exclude them from portions of society. The Party won the election and led the country until 1928. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials

Poster with a cartoon of a Jewish Bolshevik gloating over a street with Transylvanian war heroes hanged from scaffolds during the Red Terror of Bela Kun's short lived Hungarian Soviet Republic. The collapse of the Austro-Hungarian Empire at the end of World War I (1914-1918) and the 1917 Russian Revolution led to political instability. Bela Kun, born Bela Cohn to a Jewish father, was radicalized as a Communist while a POW in Russia. In 1919, he led a coup and established a Communist regime. One of the goals was to restore Hungary's prewar borders by reclaiming Transylvania. There were large scale executions of anti-communists and perceived opponents and widespread acts of arbitrary violence. The hanged men in the poster wear the traditional costume of the Kalotaszeg region of western Transylvania (now part of Romania), where the majority of the population were Reformed Presbyterian Hungarians, unlikely to support a Communist regime. After about four months, Kun's Hungarian Soviet Republic was overthrown by Romania. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Ink drawing of a parody of Christmas, with a Rabbi speaking to an audience of Hungarian peasants in front of a stable filled with a Hungarian princess and men with animal ears man/beasts. In the sky above is a shooting Star of David. This drawing is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Anti-Jewish propaganda poster produced by the Nazi controlled National Central Association of Employees in 1941 in Prague in German occupied Czechoslovakia. It depicts a Czech Christian worker pulling back a curtain to reveal an insolent Jewish businessman taking bags of money. It has a September 1941 police censor's stamp. Germany annexed a Czech border region in fall 1938, and Bohemia and Moravia, which included Prague, in March 1939, and the country ceased to exist. Jews were expelled from professions and organizations, and ostracized from Czech society. Trade unions were abolished in June 1939 and replaced with this Central Association to maintain wartime production. German propaganda incited antisemitism by claiming to reveal the worldwide Jewish conspiracy which enriched itself by stealing from honest Czech laborers. In September 1941, Heydrich became Reich Protector and soon began mass deportations of Jews; only about 11 per cent survived the Holocaust. This poster is one of more than 900 items in the Katz Ehrenthal Collection of anti-Semitic visual materials.

Antisemitic, anti-Allies poster with a caricature of a Jewish man using a whip to spin dreidels with caricatures of Allied leaders, Franklin Roosevelt, Alcide De Gasperi, Winston Churchill, and Joseph Stalin. Italy, under the Fascist dictatorship of Mussolini, was an Axis member and entered World War II (1939-1945) as an ally of Germany. In May 1943, the Axis campaign in North Africa collapsed. That July, Allied forces invaded Sicily. Mussolini was arrested by his own government and, in September, Italy unconditionally surrendered to the Allies. Germany occupied north and central Italy and launched an offensive that confined Allied troops to the south for 20 months. The German SS launched systematic deportations of Jews and engaged in severe reprisals against Italian partisans and civilians. The Allies broke the stalemate in late spring 1944, but never won a decisive victory. The war ended with Germany's surrender in May 1945. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Antisemitic, anti-Soviet German propaganda poster distributed in contested Polish and Ukrainian war zones between 1941 and 1944. It features a giant German soldier attacking a grotesque, giant Jewish Soviet soldier slaughtering civilians. In September 1939, Germany and the Soviet Union invaded and divided Poland, which included Ukraine, per the Ribbentrop-Molotov Pact. On June 22, 1941, Germany broke the pact and invaded the Soviet Union. To frighten and gain the support of the local populations, Germany produced graphic propaganda showing Soviets and Jews committing horrible acts against civilians, especially children and women. It also emphasized the Soviet Union’s role as an aggressor nation advancing the Jewish-Bolshevik conspiracy to control the world. This poster is one of more than 900 items in the Katz Ehrenthal Collection of anti-Semitic visual materials.

Anti-Jewish, anti-Soviet, Nazi propaganda poster distributed in battleground regions of Poland and Ukraine in 1943. It depicts a skeleton talking to a red, naked Leon Trotsky, who sits upon a pile of human skulls. During the war, Germany sought instances of Soviet perpetrated violence against Polish and local non-Jewish populations to exploit as graphic propaganda that would turn the locals against the Soviets and frighten them into supporting Germany. In 1943, the Germans exploited the discovery of mass graves documenting Soviet atrocities, such as the 1940 Katyn massacre of nearly 4500 Polish Army officers captured as prisoners of war as well as graves from prewar Soviet atrocities, such as Vinnitsa, committed during campaigns of political repression. The Germans then linked these to the always looming threat of the Jewish Bolshevik conspiracy to dominate the world and crush those who opposed them. This poster was originally issued in 1920 by the Polish Ministry of Military Affairs, during the Russo-Polish War. Trotsky, a leader in the Russian Revolution, also built the Red Army, and images of him as a red, bloodthirsty, satanic figure were used by the opposing White Army during the Revolution. This poster is one of more than 900 items in the Katz Ehrenthal Collection of anti-Semitic visual materials.

German anti-Soviet, anti-Jewish propaganda poster issued in the contested regions of Poland and Ukraine in 1943. It shows a disembodied Jewish Soviet soldier aiming a revolver at the viewer, and looming over a group of Ukrainian women standing amidst piles of dead bodies. The poster refers to mass executions carried out by the Soviet government in Vinnitsa (Vinnytsia] Ukraine in 1937 and 1938 as part of the Yezhov terror, a campaign of political, civilian repression. During the war, Germany sought instances of Soviet perpetrated violence against Ukrainians and local non-Jewish populations to exploit as graphic propaganda that would turn the locals against the Soviets and frighten them into supporting Germany. From May to July 1943, German forces exhumed 66 mass graves of murdered civilians near Vinnitsa. The Germans then linked this to the always looming threat of the Jewish Bolshevik conspiracy to dominate the world and crush those who opposed them. This poster is one of more than 900 items in the Katz Ehrenthal Collection of anti-Semitic visual materials.

Anti-Semitic, anti-American Nazi propaganda poster issued in German occupied Italy ca. 1943, with a cartoon of a Jewish Bolshevik shaking his fists at all comers with the New York City skyline behind him. The threat of the Jewish Bolshevik or Judeo-Communist conspiracy was a cornerstone of Nazi Party ideology. The 1917 Communist revolution that brought down the Russian Empire shocked the world. The prominence of Jews in the Bolshevik leadership fueled this imaginary merger of international conspiracies between the Communists and the Jews to destroy civilization and take over the world. In July 1943, Allied forces invaded Sicily. Mussolini was arrested by his own government and, in September, Italy unconditionally surrendered to the Allies. Germany then occupied north and central Italy, launching an offensive that confined Allied troops in the south for 20 months. The German SS launched systematic deportations of Jews and engaged in severe reprisals against Italian partisans and civilians. The Allies broke the stalemate in late spring 1944. The war ended with Germany's surrender in May 1945. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

An advertisement for Jew David's, or Hebrew plasterk, a new 'medication' together with several testimonials from people that used the productThis flier is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Reprint of an illustration, Nervous Warriors, from a pro-Nazi Party magazine, Kladderadatsch, of caricatured Jewish men waging war with a minefield of chamberpots and weapons consisting of newspapers and musical instruments. It was published in a 1944 issue of Kladderadatsch, an illustrated satirical magazine issued in Berlin, Germany, from 1848-1944. The magazine was a popular success with the middle class from the start, and like its audience, grew more conservative over the years. Under editor Paul Warncke (1909-1933), it was strongly nationalistic, praising Hitler for his patriotism after the 1923 Munich Putsch. It grew increasingly antisemitic, and was an energetic supporter of Hitler and the Nazi Party. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Broadside providing notice in German and Polish of a meat rationing order issued in Nowy Sacz, called Neu-Sandez, in 1940 in German occupied Poland. Aryans were allotted 9 ounces, a little over half a pound, of meat per week, and Jews less than 2 ounces, about an eighth of a pound. Nowy Sacz was occupied by Nazi Germany on September 6, 1939. Food shortages were experienced immediately. Jews were abused, forced to perform work for no pay, and confined to a ghetto. The city was near the Slovakian border and, in December, Jews in that area were ordered to move into the city. Food was even scarcer, and with the overcrowding came starvation and fast spreading disease. In August 1942, the ghetto was liquidated and approximately 20,000 Jewish residents were sent to Belzec killing center. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Antisemitic poster produced in German occupied Poland with cartoonlike images of Jewish shopkeepers using unsanitary and sickening methods to cheat customers: grinding rats for meat, watering down milk, and kneading bug filled dough with their feet. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Poster with a mournful looking, stereotyped Jewish man waiting at a dock as he waits to leave for yet another city. There is an antisemitic quote referring to Jews as the scum of the earth. It is attributed to Giordano Bruno, but it is doubtful that is true. Bruno was a Renaissance philosopher who was burned at the stake as a heretic for denying Catholic doctrines. He was later celebrated as a martyr to science. For both of these reasons, Nazi propagandists would find it useful to claim him as a fellow anti-semite, even if they had to invent lies to make the connection. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Issue of Das Reich, a weekly newspaper published in Nazi Germany from May 1940-1945. This issue has the headline, " Der gefährlichste feind," [The most dangerous enemy] for an article about the Jewish conspiracy and Roosevelt and an article by Goebbels on the war and the Jews. This newspaper is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Advertising sheet for Der Stürmer, a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. Ihe handbill features a Fips caricature of a scruffy looking Jewish peddler, with one of the newspaper's slogans: "Without a solution to the Jewish question, there is no salvation for mankind!" to attract customers. In closing, it promotes the paper as a way to learn about Jewish racial laws, and that, per the paper's main slogan: the Jews are our misfortune. Der Stürmer thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The handbill is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Cover illustration from "L' Assiette au Beurre", an illustrated French satirical magazine, published chiegly from 1901-1912 It depicts a cariacature of an oversized, grotesque looking Jewish man enfolding a globe of the world in clawlike hands. His long sharp fingernails have slashed some countries and made them bleed coins. The magazine cover is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Illustrated cover of the satirical magazine, Simplicissimus, year 7, No. 26, September 23, 1902. The cover headline, Polonisierung Weispreussens [The Polonization of Western Prussia] is illustrated with a caricature of three old Orthodox Jewish men quarreling in a landscape overrun with rabbits. The image plays upon reactionary fears of the mass immigration of East European Jews into Prussia in the early 20th century. This journal is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Issue of the Nazi Party newspaper, SA-Mann, Kampfblatt der obersten SA.- Führung und der NSDAP [Battle journal of the supreme SA leadership and the NSDAP]. The cover story, Grunspans Hintermanner, gives the background behind the assassination of a Nazi Party official in Paris by a Jewish youth used to incite Kristallnacht. It includes caricatures representing the USSR, the Comintern, the press, Jewish refugees, and the young man, Herschel Grynspan, who shot the Nazi Party official. This newspaper is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Nazi propaganda poster with the floating head of a sinister, caricatured Jew as the puppet master for international Jewry, watching two cartoonlike figures, John Bull, for England, and Stalin for the Soviet Union, shaking hands over a map of Europe. In June 1941, Nazi Germany launched a surprise attack on their ally, the Soviet Union. This broke the pact entered with the Soviets in 1939, which Hitler saw as a temporary measure to aid the invasion of Poland. Since the 1920s, Hitler had denounced the Soviet Union as a stronghold of the Jewish Bolshevik conspiracy which threatened Germany's safety and the plan to attack the USSR was underway in 1940. The German attack led to an alliance between the Soviet Union and Great Britain, as well as the United States, countries already at war with Germany. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Satirical news cartoon of a pear headed Frenchman expressing pity for "these poor Jews", while behind him a caricature of a Jewish man in a tallit with an evil looking face is burning a globe with a stack of currency. The use of a pear-shaped head to insult and make fun of authority figures became a staple of French satire after Daumier used it ot lampoon the King in 1942. This cartoon is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Special printing of the newsheet L'Antijuif" (anti-Jewish) in Janaury 1899 during the Dreyfus Affair, a political scandal revolving around antisemitism that inflamed France in the late 19th century. The color illustration, captioned :If the Jews would lead the war..." depicts French citizens cheering a military parade while shooting a row of Jews, traitors who caused the coming war against England, a war that never took place. Dreyfus was an army captain found guilty of treason in 1894 for selling French military secrets. Antisemitic publications used him as a symbol of the disloyalty of all French Jews. In 1896, another man was tried and acquitted of the same crime. Emile Zola, a prominent author, wrote a letter to protest the verdict, titled "J'Accuse," in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt, but despite the confession of the actual traitor, the Army again convicted Dreyfus and sentenced him to prison for another ten years. The verdict was met with outrage around the world. Dreyfus was offered a pardon by the president to end the crisis, which he accepted September 19. This newsheet is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Frankreichs Schüld [France's Shame], a special issue of the Nazi Party weekly with a color cover featuring two sterotyped black African soldiers in French uniforms, Charles de Gaulle, and a Jewish banker, for an expose on the sins of France: colonialism, Jewish controlled policies, etc. that make it an enemy of Germany. This periodical is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Antisemitic newsheet cartoon announcing "Le Retour de l'ile du Diable an Juif Errant" [The Return of the Wandering Jew from Devil's Island], the return of Alfred Dreyfus from the notorious French prison on Devil's Island for his second trial in 1899. The five cartoon panels depict Dreyfus in a Cinderella figure, accompanied by a band and mostly Jewish supporters who have sold France's honor and drowned the truth. The Dreyfus Affair was a political scandal revolving around antisemitism that inflamed France in the late 19th century. Dreyfus was an army captain found guilty of treason in 1894 for selling French military secrets. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. In 1896, another man was tried and acquitted of the crime. Emile Zola wrote a letter to protest the verdict, titled "J'Accuse," in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial, despite the traitor's confession, the Army again convicted Dreyfus. On September 9, he was sentenced to Devil's Island for another ten years. The verdict was met with outrage around the world and Dreyfus was offered a pardon by the president to end the crisis, which he accepted. This object is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Announcement issued by the German occupying authorities in France ordering the Jewish population of Champigny-sur Marne, a Paris suburb, to get their ID cards stamped at the Mayor's office by October 2, 1940. This handbill is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Lithograph by Henri Daniel Plattel of a Jewish peddler selling rosaries to a man with a Napoleonic military eagle tattoo. It was published in Miroir caricatural, a popular 19th century French series. This color print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

French antisemitic caricature of a cariactured Jewish businessman dressed to show off his wealth. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Antisemitic engraving, Histoire du sacré jubilé [History of the saced anniversary] about an annual Belgian Catholic celebration of the burning of Jews. These four scenes are illustrated: Jonathan giving money to Jean de Louvaine; Jean breaking into the Chapel of St. Catherine; Jews stabbing the communion hosts; and Jews being condemned by the Tribunal of Brussels. This pamphlet is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Advertisement for the antisemitic journal "L' Action Francaise" with a drawing of a Jewish man hanged from a lamp post. This advertising flier is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Satiric print of a Gentile family coming to a rabbi who is also mohel, a Jewish man who performs circumcisions, to request a circumcisions to cure trichininosis, an infection caused by roundworm. This object is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Rotogravure print, Aux Abattoirs [At the Slaughterhouse] showing elegantly dressed French women and gendarmes "drinking the blood of freshly slaughtered animals. It seems that the French gentle folk liked to drink fresh kosher blood at the Kosher slaughter house - this being considered more sanitary." This is an unusual example of a popular print depicting Jewish customs, such as kosher butchering methods, in a positive way and as a something good for all people, not just a Jewish aberration. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Cartoon from a late 19th century French humor weekly, Petit journal pour rire, with a cartoon of a Jewish suitor, who, when told by a woman that he is ugly, remains confident, because, as he tells her, his father is rich. This illustration is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Satirical color print, Das Höchste in der Kunst, Gabriel Max übertroffen [The Supreme Art exceeding Gabriel Max]. It depicts an old Orthodox Jewish man with few teeth eating a pork sausage. The image ridicules his appearance as well as a hypocrite for eating pork, which is forbidden by kosher dietary rules. The reference to Gabriel Max may refer to the successful Austrian painter, Gabriel von Max. In addition to religious works and portraits, Max was known for his paintings of monkeys, often in human poses. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Illustrated advertising handbill, Wenn Juden Lachen [When Jews Laugh] for Der Stürmer, the viciously anti-Jewish newspaper published by Julius Streicher from 1923-1945 in Nuremberg. It features several, unflattering black and white photos of Jewish men and one woman, with a caption identifying them as born criminals. After the war ended, Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct indictment to murder and a crime against humanity. The flier is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colored engraving of a Jewish peddler or junk dealer created in 18th century Vienna. It was one of the illustrations included in the book, Der Kaufruf in Wien. 40 Wiener Typen nach dem Kupferstichwerk aus dem Jahre 1775, a visual survey of Viennese types. Other entries included other peddles and dealers of various items including beer, canvas, carpets, cheese, ink, milk, rosaries, as well as a day laborer, a laundress, and a straw cutter. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Color lithograph, Der Handel [The Trade] of a Jewish peddler negotiating with a non-Jewish man, made in Wissembourg, also known as Weissenburg, in the Alsatian region, then part of Germany, but now France. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Color print of a drawing by Fritz Schonplug depicting three Jewish soldiers in the Austro-Hungarian Army playing cards while on horeback nad in a wagon while on military maneuvers. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Color engraving picturing a Jewish man with long beard and side curls in a crumpled hat and buttoned up black coat at the fashionable resort in Karlsbad, Czechoslovakia. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Front page of Der Rohrspatz, a satirical Viennese newsweekly that ceased publication in its first year, 1933. The cover has a caricature of a Jewish man as Der Herr der Erde, Lord of the Earth. Der Rohrspatz is a a type of sparrow known for the contrast between its small size and the loud noise it makes, whether singing or scolding other creatures. This journal cover is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Advertising sheet for Der Stürmer, a viciously anti-Jewish newspaper published by Julius Streicher, an early Nazi Party member, from 1923-1945 in Germany. The hadnbill features a cartoon of a stereotypical "livestock Jew" with a big nose, hooded eyes, and fleshy lips by Fips. It uses one of the newspaper's slogans: "Without a solution to the Jewish question, there is no salvation for mankind!" to attract customers. In closing, it promotes the paper as a way to learn about Jewish racial laws, and that, per the paper's main slogan: the Jews are our misfortune. Der Stürmer thrived on scandal, and preferred sensational stories of Jews committing disgusting, evil acts. It was also infamous for its antisemitic cartoons. Streicher was arrested by the US Army in May 1945. He was tried by the International Military Tribunal at Nuremberg, convicted, and executed per the ruling that his repeated articles calling for the annihilation of the Jewish race were a direct incitement to murder and a crime against humanity. The handbill is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Single leaf with a woodcut of a blood libel scene from the Nuremberg Chronicle, an early printed work published in Gemany in 1493. This event supposedly took place in 1475 in Trent, Italy, when a a two year old Christian boy named Simon was found dead. Shortly before Simon went missing, an itinerant Franciscan preacher had delivered sermons in Trent vilifying the local Jewish community. The Catholic Church later designated the child Simon as a martyr. Blood libel accusations were one of the oldest antisemitic falsehoods in which a Jewish community or individuals are falsely blamed for killing Christian children in a religious ritual. Over the centuries these claims have resulted in expulsions, executions, and mob attacks against Jews. See 2016.184.457 for another example of this print. This woodcut is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Cartoon of a stereotypical heayset, flashily dressed Jewish shopowner suspiciously watching an unkempt Jewish peddler dressed in rags walking down the street. The captions, set as poems, make fun of both, and point out how the rich Wholesaler does not recognize his old friend the Peddler. It was drawn by F.W. Opper for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Cartoon, Namhafte Nasen [Renowned Noses] comparing two women, Lea and Ester, with very large, curved noses. The drawing was for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Nazi Party poster with photographs of 20 men supporting Hitler or Hindenburg in the 1932 presidential election. We choose Hinderburg is written in pseudo-Hebrew font and his supporters are men who brought shame on Germany with the Versailles Treaty, as well as years of social unrest and hyperinflation. The men choosing Hitler are prominent Nazi Party members, including Goering, Goebbels. Rosenberg, and Rohm. Hindenburg, the aging but still popular World War I (1914-1918) Field Marshal, was up for re-election. Hitler ran against him, with the slogan Freedom and Bread. Hindenburg won 49 % of the March vote to Hitler's 30%, short of the needed absolute majority. In the April run-off election, Hitler gained 2 million votes, for a 36% share, but Hindenburg won the presidency with 53% of the vote. The Nazi Party continued its massive surge in popularity in the July Reichstag elections, winning over 37% of the vote, making it the largest political party in Germany. Fearing political chaos or a Communist victory, Hindenburg and his advisors turned to the Nazi Party for support. In January 1933, Hindenburg appointed Hitler as Chancellor. By summer, the Nazi dictatorship was in control of the country. This handbill is one of more than 900 items in the Katz Collection of antisemitic visual materials.

Centerfold cartoon, Die Neuste Judenhetze [The newest Jew-baiting] from Puck Magazine. It depicts a Jewish peddler thumbing his nose at caricatures of Bismarck, the German Chancellor, Hilton, and Corbin who are chasing him and trying to kick him in the pants, or really, out of the neighborhood. The drawing by Joseph Keppler was done for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Newsprint illustration, Judische Emigraten in Brody (Galizien), Jewish emigrants in Brody (Galicia) with 6 detailed, captioned vignettes of Jewish life in Brody, circa 1882, when it was a gateway to the west for thousands of Jews seeking to leave Eastern Europe. By May 1882, there were around 12,000 Jewish refugees in Brody. In 1772, Brody was annexed by the Austro-Hungarian Empire; from 1919-1939, it was part of Poland, and since the end of the war in 1945, it has been part of Ukraine. In 1880, Jews made up 75 percent of the population and it was an intellectual center and a thriving trading hub. As a border town, Brody was a central passageway for Jews escaping pogroms in Russia, intending to immigrate to America or Western Europe. The illustration is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Early 19th century antisemitic British print making cruel fun of a Jewish man who has discovered that his dead brother, who had been shipped back to England from Jamaica, was taken for pickled pork and eaten during the voyage. Adding to this outrageous insult, the cartoon also ridicules his speech and appearance. The artist's name, Giles Grinagain, is a pseudonym. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Print of an antisemitic caricature by Eugene Zimmerman, published in late 19th century New York. It has a cartoon panel detailing stereotyped, unscrupulous practices by Jewish salesman preying on unsuspecting window shoppers. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Picture postcard of a Jewish family, with the grandfather questioning a young boy, after a painting by P. Deiker. This postcard is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Series of six postcards featuring Jewish person(s) in a humiliating or foolish scene, with a derogatory title, most including an reference to an animal. The scenes are reproductions of paintings by J. Gehrts and were produced in late 19th century Berlin. These postcards are one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Cartoon, Looking Backward, with five richly dressed businessmen stopping a Jewish immigrant from getting off the dock in NY. Behind the men are giant shadow figures of their ancestors, clearly immigrants just like this one. The drawing was done by Joseph Keppler for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Cartoon, They Are the People, with aproud, prosperous Jewish businessman flanked by scenes of Jewish persecution in Russia, France, and throughout Europe. The drawing was done by Joseph Keppler for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

The drawing was done by Frederick Opper for Puck, America's first humor magazine, published in New York in both English and German language versions.This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

US cartoon, Shylock's Bad Bargain, depicting the financier and speculator, Jay Gould dressed as Shylock, being chased out of Washington DC by non-Jewish bankers and businesspeople, a cowboy, a soda jerk, and others. The drawing was done by Bernhard Gillam for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

US cartoon depicting a group of hopeful emigrants and the pitfalls they must avoid to succed in thier journey. The drawing was done by Frederick Opper for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

US cartoon, The Modern Moses, depicting Uncle Sam parting the ocean waters for a long line of Jewish immigrants. The drawing was done for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

The drawing was done by Eugene (Zim) Zimmerman for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Caricature created for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Caricature created for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Caricature created for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Caricature created for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Caricature created for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Caricature created for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Caricature created for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Caricature created for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Caricature published in Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

The drawing was done for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

The drawing was done for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Caricature published in Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Side by side double portraits in pencil, one of a Gentile gentleman and an Orthodox Jewish man, and the other of an Orthodox woman and a Gentile lady, drawn in mid to late 19th century America. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Print featuring illustrated vignettes of Jewish salesman and tailors on Chatham St. in New York City. It is from the G.W. Averell publication, Pictures of New York Life and Character. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Print with 9 illustration of street peddlers, most clearly Jewish, in New York City, including food sellers, a tie seller, and a coal seller. It is from the G.W. Averell publication, Pictures of New York Life and Character. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Antisemitic early 20th century American postcard,"Our Flag", depicting a stereotypical Jewish man holding a flag with anti-Jewish imagery. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Illustrated sheet with an antisemitic children's nursery rhyme, Old Mother Goose, with a rascally Jew cheating a boy, Jack, out of his gold egg, and later beating him. This page is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Editorial cartoon, The Veteran, by George Yost Coffin, clipped from the Washington Chroncle, a 19th century US newspaper. It depicts a Civil War veteran, missing one leg, between stacks of US treasury bags filled with gold, titled "Because He Fought," next to a scene of a Jewish dealer offering to buy old paper labelled US bonds, titled "Had He Not Fought." This cartoon is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

US cartoon, New Palaestina, showing stereotypical Jewish men, women, and children homesteading a country landscape near a sign for the Jewish Colonization Company. The drawing was done by Joseph Keppler, for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Color lithograph of a cartoon, Do you want a false face, Willie?, of a young boy with his mother pointing at the colorful masks being sold by a Jewish peddler on a city street filled with holiday shoppers. The drawing was done by A.S. Daggy, for Puck, America's first humor magazine, published in New York in both English and German language versions. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Print of an illustration, Market Day at Zyrardon, created by Helen McKie for a 1915 issue of the British illustrated newsweekly The Graphic. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Detailed, satirical terracotta pottery figure of a stereotypical heavyset, Jewish banker with a large curved nose, looking with a self-satisfied expression at the gold coins in his hand. It is a companion piece to 2016.184.534.2, a figure of his richly dressed, and extremely unattractive wife. The figures convey the impression that although their wealth and expensive clothes place them in the bourgeois class, they are still uncultured peasants. This ceramic figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Detailed, satirical terracotta pottery figure of a stereotypical older Jewish woman, with exaggerated, nearly grotesque facial features, dressed in a fur coat with muff. It is a companion piece to 2016.184.534.1, a figure of her heavyset, self-satisfied husband. The figures convey the impression that although their wealth and expensive clothes place them in the bourgeois class, they are still uncultured peasants. This ceramic figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Late 19th century ceramic beer stein with designs celebrating well known antisemitic politicians, amid scenes of caricatured Jews growing rich by abusing, cheating, and stealing from Germans, and ending with scenes foretelling the expulsion of the Jews by 1910. The stein was distributed in 1893 in Cologne, Germany. The constitution of the newly unified Germany, adopted in 1871, emancipated all Jews. The following decades saw a surge in anti-semitism. It was more vicious and openly expressed, and became a popular cause for several political parties. The lid and handle are decorated with portraits of seven antisemitic German politicians. All were elected to the Reichstag as representatives of either the Berlin Movement, an association of anti-Jewish, anti-liberal, anti-capitalist groups, or the German Reform Party, a conservative political party whose main goal was to repeal Jewish emancipation. This beer stein is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Black and cream ceramic beer stein embossed with an antisemitic scene of Jewish money lenders harassing a German farmer. Steins with anti-Jewish images were very popular in late 19th century Germany. The constitution of the newly unified Germany, adopted in 1871, emancipated all Jews. The following decades saw a surge in anti-semitism. It was more vicious and openly expressed, and became a popular cause for several political parties. This beer stein is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Print with an eyewitness report and portraits of the parties involved in the blood libel trial in Tiszaeszlar, a small village in Hungary, in 1882-1883. A 14 year old Christian girl. Esther Solymosi, went missing and her mother and aunt reported that she had been kidnapped and butchered by local Jews. This grew into accusations of ritual murder to get her blood for making Passover Matzo. The local clergy and authorities zealously pursued this accusation with methods that included torture of witnesses. The subsequent trial, the first formal prosecution in Europe outside of Poland and Russia since the 16th century, attracted world wide attention. It provoked antisemitic demonstrations and fueled the creation of Hungary;'s first Anti-Semitic political party. After a six week trial, the six defendants were found not guilty. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

18th century painted wooden figure of an Austrian court Jew. It may represent Rabbi Samson Wertheimer (1658-1724), chief rabbi for Hungary and Moravia, and a well known financier, philanthropist, and scholar. He was the Finance Minister and influential adviser to Emperor Leopold I. The figure is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Carved wooden letter opener with the head of a Jewish man as the handle. European artisans commonly adorned everyday items such as ceramics, toys, and household utensils, with caricatures of Jewish faces. These objects were often examples of racial antisemitism becoming part of everyday life. In some cases, where the portrayals were naturalistic or not cruelly exagerrated, as with this letter opener, it may be that the owner or maker was Jewish and wanted an object that reflected an image with a familiar cultural resonance. This letter opener is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Double-sided, handcrafted wooden gameboard with a numbered playing grid for the Game of the Jew dice game on one side and a chessboard on the other. The Game has a painting of a turbaned Sephardic Jew in the center square. It is played with 2 dice and several tokens, evenly divided among players. The dice are rolled and the value indicates how many tokens that player can add or remove from the game space with that number. Tokens are only added, not removed, to the 7 or Jew’s space. The accumulated tokens on the board are collected by the player who rolls a twelve. The player with the most tokens at the end wins. The player's goal is to emulate the antisemitic stereotype of the greedy, wealth hoarding Jew. Versions of this dice game without the caricatured Jew as the centerpiece, called Gluckshaus, Jeu de Sept, and Merry Seven, were known throughout Europe by the 15th century. The early version of this game, made of a paper print attached to treated linen and called The New and Fashionable Game of the Jew, was sold in London, England, in 1807, by Wallis and Dunnett. This gameboard is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Contemporary etching of the "Hep-Hep Riot" in Frankfurt am Main, Germany, in fall 1819 by Johann Voltz. Hep hep was a Jew-baiting chant used to incite the mob. The riots started in Wurzburg, and spread throughout the German Confedration. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Antisemitic handbill supposedly reporting the words of a cowardly Jew enlisted in the Army and afraid of the coming battle. He is making an appeal to the General in pseudo-Yiddish text. This handbill is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Edict issued on order of George, King of Great Britain, France, Ireland, etc., Guardian of the Faith and Georg Ludwig, Prince of the Roman Empire, Brownschweig and Luneburg, concerning an epidemic that may be spread by itinerant Jews, therefore forbidding entry in the lands under their sovereignty. This handbill is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Anti-Jewish, anti-American Nazi propaganda poster explaining that Jews are the Master of the United States. They have made the American people go to war to further the Jewish plan to conquer the world. And it is only the German people who can stop them. It reprints a 1909 cartoon showing Uncle Sam pushing a Native American off a cliff, followed by a Jewish man pushing Uncle Sam off the cliff. The poster was issued on August 12, 1942, for the Parole der Woche (Slogan of the Week) series produced by the Nazi Party in Germany from 1936-1943. The series was discontinued in 1943 because of paper shortages caused by the prolonged war. The US declared war on Germany in December 1941. World War II in Europe ended with the surrender of Germany in May 1945. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Portfolio of 30 caricatures by Alpha on the Dreyfus Affair, a political scandal revolving around antisemitism that inflamed France in the late 19th century. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling French military secrets. Antisemitic publications used Dreyfus as a symbol of the disloyalty of all French Jews. In 1896, another man was tried and acquitted of the same crime. Emile Zola wrote a letter to protest the verdict, titled "J'Accuse," in which he accused the French Army of covering up its unjust conviction of Dreyfus. Zola was charged with libel and the Dreyfus Affair grew into a national political crisis. An Army intelligence officer was found to have forged the document proving Dreyfus's guilt. But in a second trial, despite the confession of the traitor, the Army again convicted Dreyfus. The verdict was met with outrage around the world. Dreyfus was offered a pardon by the president to end the crisis, which he accepted. The portfolio is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Book with eight color lithographs of watercolors by Jozef Kruszewski. The images depict groups of people as they prepare to immigrate to America in the late 19th century. The illustrations and captions chiefly depict immigration attempts by citizens of Poland and Eastern Europe. The humor is tpoical and ethnicm, with Polish persons sometimes presented in a ridiculous light, and Jewish person portrayed as stereotypes with long side-locks and large noses. Each plate is annotated in Polish, German and Hungarian. This book is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Poster of a board game based upon the Le errant Juif [The Wandering Jew], an 1844 novel by Eugene Sue. This game is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Poster of a gameboard for a parlor game about the Dreyfus Affair, a political scandal revolving around antisemitism that inflamed late 19th century France. The game was created by Dreyfus supporters during the scandal. The winner is the player who reaches La Veritie or the Truth, represented as a naked woman rising from a well. Board symbols include broken tablets of the Rights of Man, and promotes the idea that hatred and discrimination against one miniority, the Jews, is an attack on the rule of law and the rights of all. Alfred Dreyfus was an army captain found guilty of treason in 1894 for selling military secrets. Antisemitic politicians and publications used Dreyfus as a symbol of the disloyalty and treachery of all French Jews. Zola wrote a letter, J'Accuse, to protest the verdict, in which he accused the Army of a cover up. He was charged with libel and the Dreyfus Affair grew into a national political crisis. It was discovered that the document proving Dreyfus's guilt was forged. But in a second trial, despite the confession of the traitor, the Army again convicted Dreyfus. The verdict was met with outrage around the world. In 1899, Dreyfus was pardoned by the president to end the crisis. The game board poster is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Issue of a Yiddish magazine, Apikoyres [heretic or agnostic] publkshed by the Communist Party of the United States,. Idishe byuro. This issue has a cover illustration of an enormous Jewish banker riding the back of a shabbily dressed Orthodox Jew reading a book, using his head tefillin as reins. This magazine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Antisemitic, anti-Allies Nazi propaganda poster issued in German occupied Netherlands showing a Jewish businessman dressed in clothing with symbols of America, Great Britain, and the Soviet Union being chased away by a local worker and German soldier. In May 1940, Germany invaded and occupied the Netherlands, setting up a civil administration supervised by the SS. In June 1941, Germany broke its pact with the Soviet Union and launched an invasion into Russia. On December 7, 1941, Japan attacked Pearl Harbor. Since Germany had a mutual assistance pact with Japan, they declared war against the US four days later. Germany produced war propaganda in the language of the countries they occupied to convince the local populations of the threat posed by the Allies and the need to support the war effort. In this piece, they claim that the Allies are tools of the long standing Jewish conspiracy to dominate the world through their control of international finance. The handbill is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Poster by Fred Spurgin for the hit Broadway play, Abie's Irish Rose, by Anne Nichols, which opened in 1922. It is about a young couple, an Irish American woman and a Jewish man, who marry despite the objections of their families. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Large theatrical poster by Fred Spurgin for the hit Broadway play, Abie's Irish Rose, by Anne Nichols, which opened in 1922. It is about a young couple, an Irish American woman and a Jewish man, who marry despite the objections of their families. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Italian wartime poster with a scene of Jewish bankers, some with American and British flags on their top hats, loaded with money bags, crossing through a path with red fields of dead Italian and British soldiers lining the sides. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Hand crafted, painted sheet metal balancing figure of a Rabbi reading from a book. When gently pushed, the figure appears to daven [pray.] The balancing weight is a pig's head. This metalwork figure is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Hand carved wooden rod puppet representing a Jew with jointed, movable arms and legs. Carved on the chest is a Star of David with a pseudo Yiddish/English quote): "I hab you ole in me pockit".
This object is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Large, hand crafted wooden pull toy with a Jewish figure of a rabbi seated in a chair with an open book before him. When the toy is pulled, the head rocks back and forth and the mouth moves, as if the figure is "davening," the Yiddish word for praying. This type of object is known as a spottfigur [figure of scorn] and this model type was used at religious processions or Church festivals, dating back to Rhenish festivals. The phrase, Nach Leipzig [to Leipzig] is stencilled on the seat. From the early medieval era, Leipzig was a commercial center with a famous annual Grand Fair to which merchants travelled from all over Europe. Jewish attendance and participation was restricted, but many sought to attend. "Nach Leipzig" became a sarcastic phrase referring to the "pushiness" of the Jew. This toy was featured in the first major Judaica exhibition after World War II (1939-1945) in Cologne, Germany, in 1963. The pull toy is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Picturesque painting of a Jewish pawnbroker by Swedish artist, Johan Christoffer Boklund (1817-1880.) Boklund was a naturalistic painter, specializing in history, genre, and portrait paintings. There were few Jews in Sweden, but Boklund also studied and worked in Germany for eight years. He may have used those memories to create this scene which was painted soon after his return to Sweden. Boklund later became director of the Royal Swedish Academy of Arts. This painting is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Oil portrait of a Jewish man holding an upper denture with a gold tooth by an unknown painter. The canvas was from a shop in Vienna, active mid-late 19th century, but the painting is thought to have a British connection. There was a huge influx of Jewish immigrants from Austria and Germany to England during that period. The portrait, though naturalistic, is a stereotypical image of a religious Jewish man with kippah, sidelocks, and large hooked nose. It also promotes the negative stereotype of the Jewish merchant looking for any way to profit from a situation. Jews had been expelled from England for 400 years, from 1290-1656. Thus their dress, customs, and way of life were often portrayed as exotic, colorful, and strange in popular culture. This painting is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

History painting by Herman ten Kate (1832-1891) depicting soldiers bursting into the home of a Jewish family. It is described as an episode in the history of the persecution of Jews in the Middle Ages, but the soldiers wear short skirted Roman uniforms and other details seem out of place. History painting was a popular genre which depicted a serious narrative, of real or imaginary events, often with a moral or noble message. History refers to the Italian istoria, narrative or story, and not a depiction of actual events. Pictures were often based on subjects from the Bible, mythology, or historical events. This painting is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Typed letter on SS Nazi Party letterhead from the head of the Tax Office, Mountain Brigade 96 in Austria concerning the confiscated of assets from Jews in Austria. The letter records the amount received from Anne Wollner of Leoben, about whom nothing further is known. Nazi Germany annexed Austria in March 1938, an event met with approval by most of the populace. Anti-Jewish policies were enacted, stripping Jews of their civil rights, their jobs, and their property. The November 1938 Kristallnacht pogrom was exceptionally violent in Austria. Most of the synagogues were burned, Jewish businesses and homes were vandalized, and thousands were sent to Buchenwald and Dachau concentration camps. By 1940, about 117,00 of the 192,000 Jews had left Austria. Mass deportations began in October 1941, and by November 1942, only about 7000 Jews remained. This letter is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.Jews had emigrated.

Adams ceramic pitcher with a painted scene from the novel Oliver Twist by Charles Dickens, 1838-1840. Based on an illustration by George Cruikshank, it shows Oliver being introduced to Fagin and the criminal gang. Fagin is a devil-like Jewish criminal whose portrayal exploits many negative antisemitic stereotypes. Referred to as The Jew, Fagin is greedy, vicious, and kidnaps small children to train as thieves. Dickens shared a common prejudice of the day, saying that if a character was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Some adaptations try to downplay Fagin's ethnic identity, or make him a comic figure, but his Jewishness is central to his depiction. These candlesticks are two of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.This pitcher is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Porcelain figure of the famous Viennese actor Carl Treuman in the role of Flekeles. This porcelain figure is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Ceramic beer stein with a pewter lid encasing a painted porcelain image of Susanna in the bath. It depicts two Jewish men peeping through a wall at a woman taking a shower in her bathing dress. The title refers to the Biblical episode, but since the picture is a contemporary one, the painter's insult makes clear that this predatory behavior has been ingrained in Jews for centuries. Steins with anti-Jewish images were very popular in late 19th century Germany. The constitution of the newly unified Germany, adopted in 1871, emancipated all Jews. The following decades saw a surge in anti-semitism. It was more vicious and openly expressed, and became a popular cause for several political parties. This object is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

English version of "The Protocols of the Elders of Zion" published by the Montreal Anti-Communist Committee and sold for 5 cents. The Protocols was a notorious document describing a vast Jewish criminal conspiracy to take over the world. It is a work of fiction, created to blame Jews for a variety of worldwide offenses, and is the most widely distributed antisemitic propaganda publication of modern times. This pamphlet is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Two books bound in one volume of purportedly Jewish parables and tales written by a non-Jewish judge, Holzschuher, under the pseudonym Itzig Feitel Stern. It ridicules Jewish life and is written as a parody. Mostly in German, with some Yiddish or Yiddish transliteration, or some variant. It is designed to be read from right to left (or back to front) as if it were a Hebrew book. This book is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Early 19th century German collection of amusing stories and anecdotes about Jews published under the pseudonym Julius Hilarius. This book is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Early 19th century antisemitic British print making cruel fun of a Jewish man who has discovered that his dead brother, who had been shipped back to England from Jamaica, was taken for pickled pork and eaten during the voyage. Adding to this outrageous insult, the cartoon also ridicules his speech and appearance. The artist's name, Giles Grinagain, is a pseudonym. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Book, Jus Süss on the Gallows, an antisemitic view of the life and works of Joseph Suss, with seven reprints of scenes from the trial and hanging. It includes most of the illustrations issued at the time of the event in 18th century Germany. Joseph Süss Oppenheimer (1698-1738), known as Jud Süss, was a Jewish banker who administered the finances of Duke Karl Alexander of Wurttemberg, enriching the Duke and himself. Others were envious and resentful of his success, feelings increased by his actions, such as granting contracts to Jews and easing settlement restrictions. When the Duke died unexpectedly in March 1737, Oppenheimer was arrested, tried for fraud and treason, and sentenced to death. A huge crowd watched the hanging and the body was left hanging in public for six years. In 1939, a film, Jud Süss, was produced by Goebbels's Nazi Propaganda Ministry. The inflammatory, antisemitic film portrayed Jew Süss as a grotesquely exaggerated, greedy, unscrupulous Jewish businessman who rapes a non-Jewish woman. The film was a major success throughout Europe. The print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Bronze metal dish, possibly used as an ashtray, with a bas relief of a Jewish peddler calling at an open window. This dish is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colorful terracotta figure group modelled by Anton Sohn in early 19th century Germany. It depicts a uniformed French customs agent tormenting a comically dressed Jewish peddler and his small crying son by grinding his foot in the merchant's open sack of goods. The label for this version has the guard swearing at and cursing the Jew for his audacity. Sohn (1769-1841), trained as a church painter, stablished a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Painted porcelain figurine of an oddlooking Jewish peddler in a green overcoat and purple jacket with ribbons hanging around his waist. This is a smaller reproduction of a design by 19th century Staffordshire potters, such as Minton. Jewish peddlers were a familiar sight in 19th century London, especially following the large influx of East European Jews. Those who arrived with no money, could acquire goods on credit and immediately begin selling items on the street. Others were continuing the trade they had pursued previously. This figurine is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colorful terracotta figure group, Kinder Israel, modelled by Anton Sohn in early 19th century Germany. It is a caricatured depiction of Jewish stereotypes, such as the livestock dealer and the scholar/student. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figure group is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Colorful terracotta figure group based upon a watercolor, A Feast Day, created by Hieronymous Hess in 1838. The sculpture was modelled by Anton Sohn in early 19th century Germany. It is a tableaux of a Jewish family, one man, three women, and a young boy, conversing and dressed in what are probably their best clothes, although they are shabby and patched. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figure group is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Hand cut sheet metal figure of a shochet, or ritual butcher, made to hang on the wall. It has movable arms and legs and holds a fowl in one hand and a cleaver in the other. This figure is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Colorful terracotta figure group, Horse Trader, modelled by Anton Sohn in early 19th century Germany. It is a satirical and vulgar depiction of two Jewish cattle dealers using deceptive word play to sell an old, worn out cow to a German gentleman. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figure group is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Blue, brown, and black ceramic beer stein with antisemitic scenes depicting Jews being expelled from Germany and back to their kosher nation. Steins with anti-Jewish images were very popular in late 19th century Germany. The constitution of the newly unified Germany, adopted in 1871, emancipated all Jews. The following decades saw a surge in anti-semitism. It was more vicious and openly expressed, and became a popular cause for several political parties. This beer stein is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Colorful terracotta figure group based upon a watercolor, A Feast Day, created by Hieronymous Hess in 1838. The sculpture was modelled by Anton Sohn in early 19th century Germany. It is a tableaux of a Jewish family, one man, three women, and a young boy, conversing and dressed in what are probably their best clothes, although they are shabby and patched. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figure group is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Porcelain figurine of Fagin in top hat and long coat holding his toasting fork. It is from a series marketed as Capodimonte, but produced in Germany and distributed in the US. Fagin is a Jewish criminal from the novel, Oliver Twist, by Charles Dickens, 1837-39. He is using a toasting fork when introduced, and is often portrayed with one because of its resemblance to the trident carried by the Devil. His characterization is antisemitic and exploits many negative stereotypes. Referred to as The Jew, Fagin is introduced as "villainous and repulsive." His nails are black, his few teeth are fangs, he is greedy, vicious, and kidnaps small children to make them thieves. Dickens rationalized it by saying that if he had a character who was a fence for stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, and make him more of a comic figure, but the unpleasant Jewish stereotypes are central to his depiction. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Walking stick with a marled wooden crook handle carved in the form of a Jewish man's head attached to an oak shaft. European artisans commonly adorned everyday items such as ceramics, toys, and even walking sticks, with caricatures of Jewish faces. These walking sticks are examples of racial antisemitism becoming part of everyday life. This cane is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Cast bronze match holder and ashtray in the shape of a wicked and comical caricature of a Jewish man's face. The maker and date are unknown, but it closely resembles a porcelain match holder produced by the Schafer and Vater Porcelain Factory in Volkstedt Rudolstadt, Thuringia, Germany. The company was established in 1890, and by 1910, their goods were distributed in the United States by Sears Roebuck Company. This bronze match holder is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Blue, brown, and black ceramic beer stein with antisemitic scenes depicting Jews being expelled from Germany and back to their kosher nation. Steins with anti-Jewish images were very popular in late 19th century Germany. The constitution of the newly unified Germany, adopted in 1871, emancipated all Jews. The following decades saw a surge in anti-semitism. It was more vicious and openly expressed, and became a popular cause for several political parties. This beer stein is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Brass lever nutcracker cast in the shape of Fagin holding a money bag. They were mass produced by a brass company Pearson / Peerage in England, which made them for a long time, under several names. Fagin is a devil-like Jewish criminal from the novel, Oliver Twist, by Charles Dickens, 1837-39. The novel's characterization is antisemitic and exploits many negative stereotypes. Referred to as The Jew, Fagin is villainous, greedy, and repulsive, with black nails, fanglike teeth, and he kidnaps small children to make them thieves. Dickens shared a common prejudice of the time, saying that if he had a character who was a fence, he had to be a Jew because "that class of criminal almost invariably was a Jew." Many adaptations try to sidestep the complications of Fagin's ethnic identity, or make him more of a comic figure, but his Jewishness is central to his depiction. This nutcracker is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Staffordshire pearlware mug with a depiction of Jewish boxer Daniel Mendoza and Richard Humphreys, also spelled Humphries, in their final match, September 29, 1790, in Doncaster, England. Mendoza held back for several rounds, but still won quickly. Humphreys won the first bout in 1788, and Mendoza the second in 1789. Billed as Mendoza the Jew, he was Champion of England from 1792 to 1795. Mendoza was the first prominent Jewish prizefighter in England. He was smaller than his opponents, and won with superior technique, speed, and agility. His style, known as the Mendoza or Jewish school, is credited with inspiring a generation of boxers and establishing many elements of modern boxing. The mug is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Hand colored proof of an etching by Thomas Rowlandson depicting three old Jewish men eagerly preparing to dine on suckling pig. Since Jewish dietary laws forbid the eating of pork, comic works often showed them doing so greedily and with great enthusiasm. Dukes Place was a Jewish neighborhood in London. Rowlandson, one of the most brilliant cartoonists and engravers of late 18th-early 19th century England, issued over sixty works featuring Jews, often derogatory and antisemitic, as in this print. His humorous drawings of contemporary scenes of city, country, and political life were popular and had much in common with the picaresque novels of Fielding, Smollett, and Sterne, which he illustrated. This print is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Colorful terracotta figure group, Sie isch no fail, modelled by Anton Sohn in early 19th century Germany. It is a satirical depiction of a Jewish stereotype of the peddler who always tries to cheat. It depicts a man wth a long curved nose leaning against a worn looking cow with visible ribs. Sohn (1769-1841), trained as a church painter, established a workshop in Zizenhausen, Germany, that was celebrated for its exceptionally detailed and elaborate terracotta figurines. His subject matter ranged widely and included genre and satirical groups on popular, topical themes, and religious figurines which were favorites for Christmas displays in homes, as well as businesses. This figurine is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Oil painting with a caricature of two Orthodox Jewish men fighting in public. This painting is a parody of an extremely popular genre of nature paintings, many also titled Fighting Stags, which presented romanticized visions of magnificent antlered stags fighting in a clearing. There was also a popular photograph published by Oscar Kramer (1835-1892), of Vienna, titled, Kampfende Hirsche, Zwei polnische Juden in e. Balgerei [Fighting Stags: Two Polish Jews in a Tussle], which may have been known by the unknown artist. The painting presents the Jewish men as subjects of ridicule for their repellant physical appearance, their ineptness as fighters, and their undignified public behavior. Antisemitism was an increasingly popular topic in Austria at the time. This painting is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Large color woodblock poster for a late 19th century US theatrical production of Dickens' Oliver Twist. It features a melodramatic scene of Fagin in a jail cell awaiting execution, derived from the original March 1839 illustration by George Cruikshank. It also has two inset vignettes of the Artful Dodger showing Oliver to his new friends: Fagin and then Fagin, two boys, and Bill Sykes and his dog Bull's Eye. Fagin is a devil-like Jewish criminal from the novel, Oliver Twist, written by Charles Dickens in 1837-39. The characterization is antisemitic and exploits many negative stereotypes. Often referred to as The Jew, Fagin is introduced as "villainous and repulsive." His nails are black, his few teeth are fangs, he is greedy, vicious, and kidnaps small children and trains them to be thieves. Dickens rationalized the issue, saying that if a character was a fence, a dealer in stolen goods, he had to be a Jew because "that class of criminal almost invariably was a Jew." Later adaptations of the novel have tried to sidestep the complications of Fagin's ethnic identity, or make him more of a comic figure, but his Jewishness, although a deplorable stereotype, is a central facet of his depiction. This poster is one of the more than 900 items in the Katz Ehrenthal Collection of antisemitic artifacts and visual materials.

Poster advertising the antisemitic book, Mortal enemy of Christianity, by Zbigniew Kowalewski. It was part of a series of Nazi propaganda literature produced in German occupied Poland during World War II. This poster is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Late 19th century ceramic beer stein with designs celebrating well known antisemitic politicians, amid scenes of caricatured Jews growing rich by abusing, cheating, and stealing from Germans and ending with scenes foretelling the expulsion of the Jews by 1910. The stein was distributed in 1893 in Cologne, Germany. The constitution of the newly unified Germany, adopted in 1871, emancipated all Jews. The following decades saw a surge in anti-semitism. It was more vicious and openly expressed, and became a popular cause for several political parties. The lid and handle are decorated with portraits of seven antisemitic German politicians. All were elected to the Reichstag as representatives of either the Berlin Movement, an association of anti-Jewish, anti-liberal, anti-capitalist groups, or the German Reform Party, a conservative political party whose main goal was to repeal Jewish emancipation. This beer stein is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.

Late 19th century ceramic beer stein with designs celebrating well known antisemitic politicians, amid scenes of caricatured Jews growing rich by abusing, cheating, and stealing from Germans and endnig with scenes foretelling the expulsion of the Jews by 1910. The stein was distributed in 1893 in Cologne, Germany. The constitution of the newly unified Germany, adopted in 1871, emancipated all Jews. The following decades saw a surge in anti-semitism. It was more vicious and openly expressed, and became a popular cause for several political parties. The lid and handle are decorated with portraits of seven antisemitic German politicians. All were elected to the Reichstag as representatives of either the Berlin Movement, an association of anti-Jewish, anti-liberal, anti-capitalist groups, or the German Reform Party, a conservative political party whose main goal was to repeal Jewish emancipation. This beer stein is one of more than 900 items in the Katz Ehrenthal Collection of antisemitic visual materials.